EXHIBITION OF THE 
GEORGE A. LUCAS 
_ ART COLLECTION 


THE MARYLAND INSTITUTE 
GALLERIES, MOUNT ROYAL 
AVENUE, BALTIMORE 


1911 


call 


EXHIBITION OF PAINTINGS 

BRONZES AND PORCELAINS 

FROM THE GEORGE A. LUCAS 
COLLECTION 


The MARYLAND INSTITUTE 
BALTIMORE 
1911 


~2 


GEORGE A. LUCAS 
1824 - 1909 


fee EP ALOYSIUS LUCAS. 


George A. Lucas, the son of Fielding Lucas, Jr., one of the 
founders and managers of the Maryland Institute, and Eliza 
M. Carrell, his wife, was born in Baltimore May 29, 1824. 

He was educated at St. Mary’s College and at the United 
States Military Academy at West Point, which he entered in 
1844, and where he was a fellow-cadet of Generals Stonewall 
Jackson and George B. McClellan. 

After leaving West Point he became a civil engineer of the 
New York, New Haven and Hartford Railroad, and lived in 
New Haven, Conn., during the years from 1851 to 1853. In 
July 1853, he took charge of the construction of the Central 
Railway of New Jersey with headquarters at Elizabethtown, 
and in January 1854 became assistant engineer of the Croton 
water supply, which was then being introduced into New York. 
He resided in New York until 1855, when, upon the death of 
his father, he returned to Baltimore and lived here for two 
years. 

He was attracted by art from his youth and in 1857 he left 
Baltimore for a continental trip. After enjoying an extended 
tour of Europe he resolved to spend some time in Paris which 
attracted him by its art life and atmosphere. His sojourn in 
Paris was extended over the remaining years of his life. He 
never returned to America. During his residence in Paris of 
over fifty years he greatly assisted in the development of public 
appreciation of the Barbison school of painters and of Barye, 
the great sculptor. 

He was the intimate friend of most of the noted artists of 
Paris and frequented their studios. He soon became a recog- 
nized authority on art matters and a collector of art objects. 
He was in close touch from their beginning with the Metropoli- 
tan Museum of Art, the Corcoran Gallery of Art, the Walters 
Art Gallery and many of the leading private collections in 
America, and together with Mr. Samuel P. Avery of New 
_ York, and Mr. William T. Walters of Baltimore, his intimate 
. friends, influenced their collections quite materially. 


[3] 


In recognition of what he had done in the interest of art in 
Paris, the French Government desired to decorate him with 
the insignia of the Legion of Honor, but his retiring and mod- 
est nature prompted him to avoid this distinction. 


Hs home, No. 21 Rue de l’Arc de Triomphe, was a center 
of artist life of Paris, and in it during his long life he gathered 
a large and choice collection of art objects. 


He spent his summers at his country seat on the banks of the 
Seine, near Paris, and seldom, if ever, left France. 


His portrait was painted many times by the leading artists 
of Paris. Conspicuous among these is that by Cabanel, in 
1873, a reduced copy of which constitutes the frontispiece of 
this catalogue. Another, by Bonnat, fourteen years later, is 
well known to visitors of the galleries of Mr. Walters. 


Mr. Lucas died at his home in Paris, December 16, 1909, 
in his eighty-sixth year. His remains were brought to the 
home of the William F. Lucas family in Baltimore, and, after 
a quiet and imposing ceremony at the Cathedral, were buried in 
Greenmount Cemetery. 


Mr. Lucas was noted for his love of the neadeeel his high 
cultivation and his ability as an art critic. His quiet and at- 
tractive nature won all who came in contact with him and the 
assistance and guidance he delighted to give to the art student, 
the young artist and the art collector, had a marked and lasting 
effect upon art in this country and in France. 


It was his great desire through life to place his collection in — 
the care of a worthy and useful institution in his native city, to 
be dedicated to sincere art education, and, having selected the 
Maryland Institute as his beneficiary, he bequeathed the entire 
collection by his will to Mr. Henry Walters for that purpose. 


In furtherance of this plan, Mr. Walters caused the collec- 
tion to be brought from Paris to Baltimore and to be installed 


in the Institute. 
Wie 


[4] 


PAINTINGS. 


The paintings are numbered in regular order, commencing 
at the right of the Entrance Door, extending along the North 
Wall and thence around the Gallery. The short notes con- 
cerning the different artists have been transcribed from state- 
ments which Mr. Lucas had either printed or pasted upon the 
backs of his pictures. No catalogue of his paintings, bronzes, 
porcelains, or engravings and prints has yet been found. It is 
possible that he had the making of such a catalogue in mind, 
and, if so, it might have read somewhat after the style of the 
following pages : 


ENTRANCE CORNER AND NORTH WALL. 


JACQUE (Charles Emile). 
Medals, 1861-63-64. 
Legion of Honor, 1867. 
Born, 1818. Died, 1894. 


“Red and White Poppies.”’ 
215.5510 


2 
LESREL (A.). 
Pupil of Géréme. 


“Study of Poppies.” 
11% x 5% 


— 


* The measurements of the pictures are given in each case in inches, generally 
measured to the nearest quarter inch. The first figure given represents the height 
of the canvas, the second the width as the picture hangs upon the wall. 

This system of measurements is one that is used in the Buropean galleries, 
and is being generally adopted in this country. In order to approximate the size 
of the stretchers (which in this collection are sealed within the frames), one-half 
inch in the case of the small pictures (examples under twelve inches in longest 
dimensions), and one inch in the case of the larger examples has been added to 
the dimensions of the inside of the frames. 


[5] 


A Ay, 


ae 3 
STEINHEIL (A. C.). 

Died, 1908. 

“Still Life.” 


6% x 514 


| 4 
VINCELET (Victor). 


Died, 1870. 
“Study of Flowers.” 
Painted in 1869. 


19 x 18% 


GIACOMELLI (F.). ‘e. 
“First Sketch for a Perch of Birds.” vee 
4% x17 


6 
KREYDER (Alexis). 
Medal, 1867. 
Medal of Second Class, 1884. 
Silver Medal, 1889. 
Chevalier of the Legion of Honor, Pxposition Unive 
Hors Concour. 


“Hollyhocks and Gute 
44 x 31% 


7 
MONGINOT (Charles). 


Pupil of Couture. 

Medals, 1854-59. 
Born, 1830. Died, 1900. 

“Still Life.” ie 

7% x 9% hah 


[6] 


8 
JEANNIN (Georges). 
Pupil of Vincelet. 


Medal of Third Class, 1878. 
Medal of Second Class, 1888. 
Hors Concour, 1889. 
ree Medal, Exposition Universal, 1900. 


“Study of Flowers.”’ 
10% x 13% 


9 
VOLLON (Antoine). 
Pupil of Ribot. 

Medals, 1865-68-69-73. 

Legion of Honor, 1870. 
Officer of the Legion of Honor, 1878. 

Pupil of the Academy of Lyons. 

Medal, Exposition Universal, 1878. 

Born, Lyons, 1833, 


‘Study of Flowers.”’ 
18% x 15% 


IO 


COLLIN (Raphael). 
Pupil of Cabanel. 
Medal, 1878. 
Legion of Honor, 1884. 
Officer of Legion of Honor, 1889. 
Member of the Institute, 1909. 


‘*Study of Flowers.” 
35 x 14% 


ET 
BONVIN (Francois S.). 
Medals, 1849-51. 


Legion of Honor, 1870. 
Born, 1817. Died, 1887. 


“Still Life.” 
16% x 138% 
[7] 


12 
THIOLLET (A.). 
Pupil of Drollinge and Robert Fleury. 
Third Class Medal, Salon 1885. 
Second Class Medal, 1887. 
Medal, Exposition Universal, 1889. 
Born, Paris. Died, Paris, 1896. 


“Fisherwoman of Villerville.’’ 


94% x 6% 


13 
BAIRD (W. B.). 
“Village Church.” 


12% x 10 
14 
STEVENS (Alfred). 
Paris. 


Gold Medal at Brussels, 1851. 
Paris, 1853-55-67 (HE. U.). 
Legion of Honor, 1863. 

Officer of the Legion of Honor, 1867. 
Commander of the Order of. Leopold. 
First Class Medal, Exposition Universal, 1878. 
Grand Officer of the Order of Leopold, 1881. 
Born, 1817. Died, 1875. 


“Study of a Head.” 
18 x 9% 


15 
MICHEL (Georges). 
Born, 17638. Died, 1843. 


“Gathering Storm.” 


17 x 28% 


16 
MUNIER (E.). 
Pupil of Bouguereau. 
Honorable Mention, 1882. 
Died, 1896. 
“Under the Lilacs.” 
244, x 124% 


[8] 


17 


Medals at Salon. 

Medal of the Third Class, 1880. 
Medal of the Second Class, 1882. 
Silver Medal, 1889 (E. U.). 
Silver Medal, 1893. 

Gold Medal, 1903. 

Born, Avallon, 1842. 


QUOST (Ernest). 


“Decorative Study.”’ 


6 x 19% 


18 


HAMON (J. L.). 
Pupil of P. Delaroche. 
Medals, 1853-55-67. 
Legion of Honor, 1855. 
Born, Plouha, 1821. Died, 1874. 


“The Fugitive.” 
8% x 10%. 


19 
CASTRES (Edouard). 
Pupil of Zamacois. 
Medals, 1872, 1874. 
Born, Geneva, Switzerland. 


“On the Seine at Bougival.”’ 


10% x 8% 


20 


ZIEM (Felix). 
Medals, 1851-52-55. 
Legion of Honor, 1857. 
Born, 1821. Died, 1908. 


“Color Scheme.”’ 
12% x 7% 


21 


COLLIN (Raphael). 
“Study of Flowers.” 


35 x 14% 
[)] 


22 
BABCOCK (Wm. P.). 
American Painter. 


Pupil of Couture and Millet. 
Born, Boston, 1826. Died, Bois D’Arcy, France, 1899. 


“The Quartette.”’ 
8% x 10% 


23 
MONTICELLI (Adolphe). 
Pupil of Academy of Fine Arts, Marseilles. 
Born, Marseilles, 1834. Died, 1886. 


“Road Through the Wood.” 
24 x 16 


24 
DELPY (Camille). 
Pupil of Corot and Daubigny. 
Born, Goigny. Died, 1908. 


“On the Seine at Boissise-la-Bertrand.”’ 


224% x 17% 


This house was one of the places in which Mr. Lucas spent his summers 


25 
HOWLAND (Frank). 
“Studying the Album.”’ 


10% x 8\% 


26 
SAINTPIERRE (Gaston C.). 
Pupil of Cogniet and Jalabert. 
Medal, 1868. Medal of the Second Class, 1879 
Legion of Honor, 1881. 
Officer of the Legion of Honor, 1903. 


Hors Concour. 
Born, 1833. 


‘*Yamina.”’ 
101% x 8% 
[10] 


27 
ROUSSEAU (Philippe). 


Pupil of Gros and Victor Bertin. 
Born, Paris, 1816. Died, 1887. 


“Still Life.” 
53% x 9% 


28 
PISSARRO (Camille). | 
Pupil of Melbye and Corot. 
Born, Normandy, 1830. Died, 1903. 


“Path by the River.” 
224% x 17% 


29 
MONTICELLI (Adolphe). 
“Allegory.” 


14144, x 27 


30 
HOVENDEN (Thomas). 
Pupil of Cabanel. 
Associate of National Academy, 1881. 
National Academician, 1882. 
Member of Society of American Artists. 
American Water Color Society, 1882. 
Philadelphia Society of Artists, 1883. 
New York Etching Club, 1885. 
Born, Dunmanway, Ireland, 1840. Died, 1895. 


“Study of an Old Lady.”’ 


64x 5% 


Mr. Lucas had noted upon the back of this picture: “Given me by him at the 
time he was pursuing his studies at Paris, in Cabanel’s studio.” 


31 
THIOLLET (A.). 
“Fishing Boats.” 


43% x 8% 
[11] 


32 
TASSAERT (N. F. 0.). 
Pupil of Guillon and Lethier. 
Second Class Medal, 1838. 
First Class Medal, Genre Historique, 1849. 
Third Class Medal, 1855. 


“The Angel’s Message.” 
16% x 134% 


33 
CABANEL (A.). 


Pupil of Picot. 
“Prix de Rome,” 1845. 
Medals; 1852 (BE. U.), 1855. 
Legion of Honor, 1855. 
Member of the Institute of France, 1863. 
Officer of the Legion of Honor, 1864. 
Grand Medals of Honor, 1865 and (E. U.) 1867. 
Commander of the Legion of Honor, 1878. 
Grand Medal of Honor (E. U.), 1878. 
Professor in l’Ecole des Beaux Arts. 
Born, 1823. Died, 1889. 


‘‘Portrait of George A. Lucas.” 


The portrait of the donor of this collection has been reproduced as a frontis- 
piece to the Cataolgue. 


34 
KREYDER (Alexis). 
“‘Study of Apple Blossoms.” 


151% x 20 


35 
GUIGNET (Adrien). 
Born, Annecy. Died, Paris. 


‘“‘Afterglow on the Banks of the Nile.” 
ix 23 


Mr. Lucas had noted upon the back of this picture: ‘““Decamps was very much 
struck with the quality of Guignet as a painter, see the book ‘La Vie de Guignet,’ 
J. A. Bulliott.” 


a 
VELY (Anatole). 
Pupil of Signol and Bouguereau. 
Medal, 1875. 
“The Well.” 
10% x 6 


_ [12] 


37 
ROZIER (J.). 


Pupil of Bertin and P. Delaroche, 
“Seaside Village.”’ 
5144 x 8% 


38 
FLERS (Camille). 
Pupil of M. Paris. 
Medal of Third Class, 1840. 
Medal of Second Class, 1847. 
Legion of Honor, 1849. 
Born, 1802. Died, 1868. 


“The Foot-Bridge.”’ 


15% x 23 


39 
CLAIRIN (J. Georges). 
Pupil of Picot and Pils. 
Medals, 1882, 1885, 1889. 
Legion of Honor, 1897. 


“Study of Saint Marks at Venice.’’ 
9% x 6% 


40 
BOUGUEREAU (Wm. A.). 
Pupil of Picot. 
“Prix de Rome,” 1850. 
Medals, 1855-57-67. 
Legion of Honor, 1859. 
Member of the Institute of France, 1876. 
Officer of the Legion of Honor, 1878. 
Medal of Honor, 1885. 
Commander of the Legion of Honor, 1885. 
Medal, Universal Exhibition, 1889. 
Born, 1825. Died, 1905. 


‘‘ Sketch for the Picture Entitled ‘Charité.’ ’’ 
11 x 7% 


[13] 


41 
MONTICELLI (Adolphe). - 


42 


‘*Allegory.”’ 
19% x 2314 


43 
“Early Spring.” 


24 x 16 


44° 


BS gle CAs Gans ses j 
Pupil of Pujol, David and Ingres. — 
Medals, 1831-34. : 
Chevalier, Legion of Honor, 1839. — Officer, 
Born, 1803. Died, 1860. | 


“At the Edge of the Forest.” 
19 x 15% * 


45 
PLASSAN (A. E.). 
Medals, 1852-57-59. 


Medal, Philadelphia Centennial Exposition, 876 
Legion of Honor, 1859. ide 
Born, 1817. Died, 1903. sa 
“Group of Still Life.” 


14 x 10% _— 


a lek a 


WEST WALL 


47 
STEINHEIL (A. C.). 
_ “Study of Poppies.”’ 


26 x 1814 


48 
GREUZE (Jean Baptiste). 


Born at Tournus (Burgundy), 1725. Died, 1805. 
“The Greedy Child.” 
22 x 15% 


49 
LeROUX (Hector). 
Pupil of Picot. 
“Prix de Rome,” 1857. 
Born, 1829. Died, 1900. 
Medals, 1863-64-77. 
“The Vestal Tuccia.’’ 


103% x 8% 


50 
‘Sleeping Vestal.” 
12%, x 6% 


51 
ZIEM (Felix). i pas 
“Sketch of the Grand Canal, Venice. 

7x 9% 


[15] 


52 
DURAN (Carolus). 
Pupil of Souchon. 
Medals, 1866-69-70. 
Legion of Honor, 1872. 
Medal of Second Class, 1878. Exposition Universal. 
Officer of Legion of Honor, 1878. 
Hors Concour, 1889. Exposition Universal. 
Commander, 1889. 
Grand Officer Legion of ‘Honor, 1900. 
Member of Jury. Hors Concour. 
Born, Lille, 1837. 


“Study of an Italian Model.” 
18% x 144 


53 
MONTICELLI (Adolphe). 


‘*Allegory.”’ 
63% x 154% 


54 


Medals, 1870-1875. 
Decorated, Chevalier, 1879. 
Officer, 1900. 

Born, Grenoble, 1836. Died, Paris, 1904. 


FANTIN-LATOUR. 


‘*Study in Oil.”’ 
9x IZ 


55 
JEANRON (Philippe Auguste). 


“Girl in the Forest.”’ 
223%, x 16% 


56 
LeFEBVRE (Juies). 

“Prix de Rome,” 1864. 
Medals, 1865-68-70. 

Legion of Honor, 1870. 

Medal of First Class, 1878. 
Officer of the Legion of Honor, 1878. 

Medal of Honor, 1886. 
Grand Prix, 1889. 
Member of the Institute. 


‘*Mignon.”’ 
20% x 12 


[16] 


57 
DURAN (Carolus). DOR et 
udy of a Head.”’ 


16% x 18% 


58 
LONGUET. 
Pupil and Friend of Diaz. 
“Hagar and Ishmael.” 


16 x 11% 


: 59 
LEMMENS (E.). 
Pupil of Lassale. 
“In the Barnyard.”’ 


444 x 6 


60 


LOIRE (L.). 
“The Picket at the Angelus Time.”’ 


9% x 6% 


6I 
RICO (Martin). 
Medal, 1878. 
Legion of Honor, 1878. 
“The Grand Canai from the Artist’s Window.”’ 


64% x 5 


62 
HEREAU (Jules). 
Born, 1830. Died, 1879. 
“Opening the Sheepfold.”’ 
15 x 238% 


[17] 


63 
SANTORO (Rubens). 
Medal, 1896. 
Medal, Chicago Exhibition, 1893. 


“An Outpost of Venice.” 
8% x 124% 
64 
LEMMENS (E.). 
‘The Barnyard Pool.” 
3% x 5% 
65 
DAUMIER (Honoré). 
Born, 1808. Died, 1879. 
“In the Theatre Boxes.”’ 
9144 x 12% 


This famous French caricaturist was condemned in 1832 to six months’ impris- 
onment for having drawn a lithograph’ disrespectful to the sovereign, Louis 
Philippe 


66 
DEHODENCQ (Alfred). 
Pupil of Leon Cogniet. 
Medals, 1846-1853-1865. 
Decorated, Legion of .Honor, 1870. 
Born, Paris, 1823. Died, 1882. 
“Little Gypsy.” 
30 x 19% 
67 
HEREAU (Jules). 
“Landscape with Sheep and Lambs.” 
17 x 25% 


68 


DELORT (Charles). 
Pupil of Géréme. 


“The Departure of Manon Lescaut from Havre.”’ 
7% x 10% 
[18] 


LEMMENS (BE). 
“Study of Fowls.”’ 


3% x 51% 


70 
BRACQUE MOND. 
Pupil of Joseph Guichard. 


Born, Paris, 1833. Died, Paris, 1904. 
‘Portrait Head.”’ 


5% x 4% 


71 
SANCHEZ-PERIER (E.). 


“View in Vigo, Galicia.”’ 


63% x 5% 


72 
GAVARNI. 
Born, 1801. Died, 1866. 


“Costume Study.” - 
12% x 8% 


gan 
CONSTANT (J. J. Benjamin). 
Medals, 1875-1876-1878. 
Legion of Honor, 1878. 
Officer of the Legion of Honor, 1884. 
Member of the Institute of France, 1893. 


_Medal.of Honor, 1896. 
Born, 1845. 


“Inmate of the Harem.”’ 
8% x 12 


[19] 


74 
LEMMENS (BE). 
“Study of Fowls.”’ 


4x5% 


75 
BOUGHTON (G. H.), A. R. A. 


Member of the Royal Academy of Design. 
Associate of the Royal Academy. 
Born, 1834. 


“Portrait of a Young Girl.” 


8 inches (diameter). 


76 
DANNAT (Wm. T.). 


Studied in Munich Academy with Munkacsy. 
President of Society of American Artists. 
Commander of Legion of Honor. 
Represented in Metropolitan Museum of Art, New York. 
Art Institute of Chicago, and Luxembourg. 

Born, New York, 1853. 


“The New Hat.” 
8% x 10% 


77 
LOBRICHON (Thimoleon). 
Medal, 1868. 
Medal of the Second Class, 1882. 
Legion of Honor, 1883. 
Hors Concour. 


‘‘Portrait Head.”’ 


rd 


7 inches (diameter). 


78 
METTLING (Louis). 


“Portrait of a Young Girl.” 
91%x T% 
[20] 


79 
-DAUMIER (Honoré). 


“The Stairway of the Palace of Justice.’ 


14% x 10% 


80 
LAMBERT (Eugene). 
Died, Paris, 1900. 


“Cat and Frightened Rabbits.” 
53%, x 9 


81 
MERY (A. E.). 


Medals, 1868, 1869. Exposition Universal. 
Born, Paris, 1848. Died, Paris, 1896. 


“Nestlings Amid the Blossoms.”’ 


20 x 39 


82 


BRETON (Jules). 
Pupil of Devigne and Drolling. 
Medals, 1855-56-59-61. 
Medals, London, Vienna and Brussels. 
Legion of Honor, 1861. 
Medal of the First Class and Officer Legion of Honor at the 
Universal Exhibition, 1867. 
Medal of Honor, Salon, 1872. 
Knight of the Order of Leopold, 1881. 
Ribbon of St. Stanislas, of Russia. 
Corresponding Member of the Academies of Vienna, Stockholm 
and Madrid. 
Member of the Institute of France, 1886. 
Commander of Legion of Honor, 1889. 
Born, 1827. 


“Study for the Picture, ‘Les Communiantes.‘ ”’ 
18%, x 18 


Mr. Lucas has noted on the back of this picture: ‘‘Madame Breton posed in 
costume for this sketch.” 


[21] 


83 
VAN MARCKE (E.). 


Pupil of Troyon. 
Medals, 1867-69-70. 
Legion of Honor, 1872. 
First Class Medal (E. U.), 1878. 
Born, 1827. Died, 1891. 


‘Cattle Drinking.”’ 
114% x 14% 


84 


DUPRE (Victor). 
**Landscape.”’ 


34% x 45% 


85 
PATROIS (I.). . 
Medal of the Third Class, 1861. 
Naples, 1863, Medal, 1864. 
- Decorated, Legion of Honor, 1872. 
Born, France. 


‘Russian Peasant Playing on the Mandolin.” 


10% x7 


86 


VILLA (E. D.). 
Pupil of Gleyre and Glaize. 


‘“‘Entrapped.” 


44%,x 7% 


87 
ROQUEPLAN (J. E. C.). 
Pupil of Baron Gros and Abel de Pujol. 
Medals, 1853, 1855. 
Officer of the Legion of Honor, 1831. 
Appointed Battle Painter at Versailles Gallery. 

Decorator of Luxebourg Palace. : 

Born, Malemort, 1802. Died, 1855. 


“Landscape with Figures.” 
10x 13% 


[22] 


88 
LAVIELLE (E. A. S.). Ss 
Pupil of Corot. 
Medal of Third Class, 1849. 


Medal, 1864. 
Born, Paris. 


“The River Bresle at Nesle.’’ 
13 x 23% 


Mr. Lucas notes that “Van Marcke (see Nos. 838 and 111) painted most of his 
eattle pictures in this vicinity.” 


89 
AUBERT (E. J.). 
Pupil of Paul Delaroche and Flamon. 
Medal of Third Class, 1861. 
Born, 1824. Died, 1906. 


“Greek Fisher Girl.’’ 


10x 7 


90 
WELLS (G.). 
““Sisters.”’ 


8144 x 644 


rob 
VILLAIN (Eugene). 
Pupil of Charlet and L. Cogniet. 
Born, Paris. 


“Still Life.” 


1 ASY, 


92 
VEYRASSAT (Jules Jacques). 
Medal, 1872. 


Medal, 1889, Exposition Universal. 
Legion of Honor, 1878. 


“The Ferry on the Marne.” 
7x 12% 
[23] 


93 
PISSARO (Camille). 
“Village Street in Winter.” 


14% x 18% 


94 
JACOMIN (Marie Ferdinand). 


Medal, 1883. 
Medal Universal Exhibition, 1889. 


‘‘Landscape in Cloud and Sunshine.” 


32% x 46 


95 
GUERARD (Henry). 
Born, 1846. 
“Three Panels, Views at Honfleur.’’ 


Hach of the three panels is 64% x 9% 


96 
DELORT (Charles). 


“Choir Stalls, Church of Thun, Alsace.’’ 
184% x 9% 


97 
BOUGUEREAU (Wn. A.). 


“Study for the Principal Figure of the Picture Entitled 
‘Les Oranges.‘ ”’ 


164% x 138% 


98 
MARILHAT (Prosper). 
Pupil of Roqueplan. 
Born, 1811. Died, 1847. 
‘Beneath the Archwav.”’ 
12% x 8% 


[24] 


99 
FANTIN-LATOUR. 
: “Still Life.” 


7 x 12% 


100 
DAUBIGNY (C. F.). 
Pupil of Paul Delaroche. 


Medals, 1848-53-55-57-59-67. 
Chevalier, Legion of Honor, 1859. 
Officer of the Legion of Honor, 1874. 
Diploma to the Memory of Deceased Artists. 
Exposition Universal, 1878. 

Born, 1817. Died, 1878. 
“Through the Fields.” 


8 x 18% 


IoOr 


MARIS (Jacob). 
Born at the Hague, 1888. Died, 1899. 
‘“‘Breeze from the Sea.”’ 


15 x 24% 


102 


BRETON (Jules). 
“Young Musician.” 


tiex is 
* 303 
UNKNOWN ARTIST. 
“On the Exterior Boulevards.” 


64% x9 


104 
FRERE (Theodore). 


Born, 1815. Died, 1888. 
“Cairo Cafe.” 
10% x 8% 

[25)] 


105 
BONNAT (Leon). 


Pupil of Madrazo and Cogniet. 
Second “Prix de Rome,” 1851. 
Medals, 1861-63-67. 

Legion of Honor, 1867. 

Medal of Honor, 1869. 

Officer of the Legion of Honor, 1874. 
Member of the Institute of France, 1874. 
Knight of the Order of Leopold, 1881. 
Commander of the Legion of Honor, 1882. 
Born, 1833. 


‘“‘View on the Teverone, or Little Tiber, near Rome.” 
7% x 12% 
106 
APPIAN (A.). 


Pupil of Corot and Daubigny. 
Born, 1819. Died, 1898. 


‘‘Lake in the Department of Ain, France.’’ 


1344, x 22 


107 
JACQUE (Charles Emile). 


The Blacksmith’s Shop. 
64%, x 54 


108 


LE POITTEVIN (E.). , 
Pupil of Hersent. 

Medals, 1831-36-48-55. 
Chevalier of the Order of Leopold. 
Legion of Honor, 1848. 

Born, 1806. Died, 1870. 


“In the Barnyard.” 
81%, x 7 


109 


MERY (A. E.). 
“Apple Boughs.”’ 


20 x 389% 


ILO 
BRETON (Jules). 


Sketch for the Picture ‘‘Les Communiantes.”’ 
See also No. 82 


17% x 11% 


III 
VAN MARCKE (E.). 
“‘Cattle.’’ 


10% x 144% 


112 
GAVARNI. 
“Costume Study.” 


138% x 8% 


113 
PLASSAN (A. E.). 
**At the Shrine.’’ 


G6 x 3% 
114 
MONTICELLI (Adolphe). 


“Portrait of Monticelli.” 


644 x 4% 


115 
TENIERS (Abraham). 


Born at Antwerp, 1629. Died, 1670. 
“After Lunch.”’ 
7x 9% 


116 


BOUGHTON (G. H.), A. R. A. 
“Viola.”’ 
9 inches diameter. 


[27] 


117 
ARMAND-DUMARESQ (C. E.). 


Pupil of Couture. 
Medal of Third Class, 1861. 
cas Medal at Naples, 1863. 
Legion of Honor, 1857. 
Born, Paris, 1826. Died, 1895. 


“Portrait of Joseph.”’ 
7% x 5% 


Mr. Lucas added this note: “Joseph was a model who posed for Gericault, for 
the negro in his celebrated picture, ‘‘The Raft of the Medusa.”’ 


118 
DIAZ (N.). 


Medals, 1844-46-48. 
Legion of Honor, 1851. 
Diploma to the Memory of Deceased Artists, Eons Universal 1878. 
Born, 1807. Died, 1876. 


“Jean d’Paris in the Forest of Fontainebleau.’’ 
6% x 8% 


IEQ 


GAVARNI. 
“Costume Study.” 


1A < 


120 
BOULANGER (Gustave). 


Born, 1824. Died, 1888. 


“Two Moors.”’ 


8% x 544 
12 
COUDER (A). 
Pupil of Gros. 
Medal, 1836. 
Decorated, 1853. 
“Study of Fruit.” 
™%x5y4 
[28] 


I22 


FIELDING (Newton). 
“Hunting on the Moors.” 


634 x 8% 


123 


THIOLLET (A). 
“Sea and Sky at Villerville.”’ 


hele oo bRI 


124 


LEMMENS (E.). 
““A Lesson for Wrongdoers.”’ 


7 x 10 


125 
JACOMIN (Marie Ferdinand). 


“Environs of the Forest of St. Germain.”’ 


138% x 16% 


126 
COUTURE (Thomas). 


Pupil of Gros and Delaroche. 
Medals, 1844-47-55. 
Legion of Honor, 1848. 
Born, 1815. Died, 1878. 


“Portrait of a Child.”’ 
24 x 204% 


127 
BRENDEL (Albert). 
Pupil of Jules Dupré. 


Professor in School of Fine Arts, Weimar, Germany. 
Born, Berlin. Died, Germany, 1898. 


‘In the Stable.’’ 
114%x 14% 


Mr. Lucas has added a note on the back of the picture, stating that Brendel 
came to Barbison about 1860, resided there ten years, becoming an intimate 
friend of Bodmer, Theo. Rousseau, and Millet. 


[29] 


128 


HERVIER (A.). 
“The Windmill.”’ 


54% x 7% 


129 
FLAMENG (L.). 
‘‘The Sisters.”’ 


D4 X 5% 


130 
HERVIER (A.). 
“Village of Windmills.” 


17% x 26% 


131 
JACQUE (Charles Emile). 


“In the Barnyard.”’ 


5144 x 7 


132 
GUILLEMIN (A. M.). 
_ Pupil of Baron Gros. 
Medal of Third Class, 1841. 
Medal of Second Class, 1845. 
Medal, 1859. 


Decorated, Legion of Honor, 1861. 
Born, Paris. 


“By the Fire-Side.”’ 


53% x 4% 


133 
SCHENCK (A. F.). 
Pupil of Cogniet. 
Medal, 1865. 
Born, Germany, 1821. Died, 1901. 
“Study of Sheep.” 
71%, x 5% 
[30] 


134 
DIAZ (N.). 
“Landscape.” 


3x4 


135 
LOUSTAUNAU (Louis Auguste Georges). 


Pupil of Vibert, Géréme and Barrias. 
Born, Paris, 1846. 


“Study in the Chateau at Fontainebleau.”’ 


eg ion Res 


136 
COMPTE (P. C.). 


Pupil of R. Fleury. 
Legion of Honor, 1857. 
Medals, 1852-53-55. 
Exposition Universal, 1857. 
Exposition Universal, 1867. 


Figure Study for Picture Entitled ‘‘Henry III and the Duke of Guise 
at the Chateau of Blois.’’ 


16 x 11% 


137 
DESGOFFE (Blaise). 
Pupil of Flandrin. 
Medals, 1861-63. 
Legion of Honor, 1878. 


Honorable Mention, Exposition Universal, 1878. 
Died, 1901. 


“Small Vase in the Galerie d’Apollon, Louvre.’’ 


5 x 614 


138 

LEMMENS (E.). ; 

The Rabbit Hutch. 
81% x 61% 


[31] 


139 
CHARNAY (Armand). 


Pupil of Pils. sugteanbces : 
Medals, 1876, 1886. R5 
Medal, Universal Exhibition, 1889. 
Decorated, Chevalier Legion of Honor, 1909. 


“April Showers on Sunday Morniagi 
104% x 13% 


140 cs 

BERAUD (Jean). ee 
Pupil of Bonnat. : 

Medals, 1882, 1883. . 

Legion of Honor, 1887. ; 

Gola Medal, Exposition Universal, 1889, 


‘‘Arc de Triomphe and Champs acct 
4x 5% sy 


14 
DECAMPS (A. G.). 
“The Washwoman.”’ 


8% x TY 
142 
SOYER (Paul). 
Died, 1893. 
“The Grandmother’s Support.” 
18% x 15% 
143 
ZIEM (Felix). 
“The Venetian Lagoon.” 
10% x 14% 
144 
LeFEBVRE (Jules). os 


“Sketch for Ceiling for a Bed-Roo: 
~ W. H. Vanderbilt. 


_ [82] 


145 
LeFEBVRE (Jules). 


“Spirit of the Morning Mists.”’ 
101% x 12% 


146 
Le PRINCE (Xavier). 


Born, Paris, 1799. Died,———. 
“The Parisian Milk Seller.’’ 
54x6 


147 


Pupil of Géréme. 
Medal, 1874. 
Medal, Universal Exhibition, 1889. 


GOUBIE (Jean R.). 


“Study of a Dog.” 
67% x 8% 
148 
DAUMIER (Honoré). 
“The Bathers.”’ 
84x T% 


149 
GREUZE (Jean Baptiste). 


“The Chestnut Roaster.”’ 
ae ae dE 


150 
‘Highroad.”’ 
6% x 114% 


APPIAN (A.). 


I51 
MURATON (Alphonse). 


Medal, 1868. 
Born, Tours. 


“Praying Monk.” 
14x 9% 
[33] 


SouTH WALL — 


152 
GUES (Alfred). 


| ‘Pupil of Howie Wernaee 
Born, Montargit, France, 


“The Source.” 


241% x 29% 


VINCELET (Victor). ; 
“Study of Flowers.”’ 


264% x 21% 


154 

CARAND (J.). 
Pupil of C. Muller. 
Medals, 1859, 1861-63. 


“Pet Pigeon.” — 
84x 6Y. 


wt 


155 


FRERE (Ed.). 
Pupil of P. Delaroche. 
Medals, 1851-52-55. 
Legion of Honor, 1855. 
Born, 1819. Died, 1886, _ 


“Little Girl Eating Porridge.” 
5% x 4% 
ae 
MILLET (J. F.). 


Pupil of P. Delaroche. | Bs 
Medals, 1853-64 joe Me Lane 


“Sketch of tekteas Woman I ; 
ee a 
% one 15 x ge 


157 
ZIEM (Felix). 
“Study of Vegetables.” 


tay ets 
158 


BOULARD. 
Pupil of Jules Dupré. 


“Study of Flowers.” 
20 x 17% 
159 


LEMMENS (E.). 
“Roosting Time.’’ 


61 x 9% 


160 


PLASSAN (A. E.). 
“Village of Courrances.”’ 


44%, x 7% 


161 


DUPRE (Victor). 
“*Landscape.”’ 


2344 x 29 


162 
ANDRIEUX (A.). 
Pupil of Gleyre. 
Born at Paris. 
“‘Knife Sharpener.”’ 
10 x 14 
162 
ANASTASI (Auguste). 
Pupil of Paul Delaroche and Corot. 
Medals, 1848 and 1865. 


Legion of Honor, 1865. 
Born at Paris. 


‘*Moonlight on the Canal.” 
914 x 18% 
[35] 


164 
MANET (Edouard). 
Pupil of Couture. 
Legion of Honor, 1882. 
Born, Paris, 1833. Died, Paris, 1883. 


“Portrait of the Marine Painter, Michel de L’Hay.”’ 
144x114 


165 
TROYON (C.). 
Pupil of Rivereaux. 
Medals, 1838-40-46-55. 
Legion of Honor, 1849. 
Born, 1810. Died, 1865. 


‘*Across the Meadow.” 


10% x 8% 


This study was bought by Mr. Lucas at the sale held after Troyon’s death. 
It is recognized as one of the most beautiful of the master’s studies. 


166 
“A Study Head.” 
25 x 20% 


COUTURE (Thomas). 


167 


DUPRE (Victor). 
: ‘*Landscape.”’ 


201% x 27 


168 
DUVERGER (T. E.). 


Medals, 1861-63-65. 
“The Morning After the Storm.” 
914 x 13 
8% x il 
[36] 


170 
LEMMENS (E.). 
“His Majesty.” 


61% x 10 


171 
ANASTASI (Auguste). 


“View in the Forest of Fontainebleau.”’ 


5144 x 9 


172 
MILLET (J. F.). 
“Rudolphe Bodmer.”’ 


19% x 15% 


Photographic copy of a portrait of Charles Bodmer, executed about 1850, 


J. F. Millet. 


173 
ZIEM (Felix). 
“Study of Fish.’’ 


12 x 16% 


174 
VOLLON (Antoine). 
“Study of Flowers.” 


19 x 15% 


175 
COUTOUTIER (Philbert Leon). 


Pupil of Picot. 
Medals, 1855, (EH. U.) 1861. 
Born, Chalon-sur-Saone, 1825. Died, 1901. 
“Feeding the Cock.” 
9% x 6% 


[37] 


ro 


176 
ROUSSEAU (Philippe). 


“The Cock and the Pearl.” 
8% x 5% 
77 
SCHENCK (A. F.). 
“After the Storm.’”’ 
13°x S21, 


178 


BOULARD. 
“Study of Asters.” 


19 x 15% 
179 
MICHEL (Georges). 
“The Interior of the Forest.”’ 


25 x 1914 


180 
JACQUEMART (Jules F.). 
Medals, 1864-66-67 (I. U.). 
Medal of Honor (E. U.), 1878. 
Legion of Honor, 1869. 


Member of the Order Francis Joseph. 
Born, 1887. Died, 1880. 


“The Washwoman of Montone.’’ 


11% x ay 


181 
GOENEUTTE (Norbert). 
Pupil of Pils. 
Born, Paris, 1854. 
Died, 1894. 


“The ‘Pont de L’Europe’ and Railway Tracks 
to the St. Lazare Station.” 


18% x 21% 
[38] 


EAST WALL 


182 


FLAMENG (L.). 
“Spring Landscape.” 


19% x 16 


183 
DELACROIX (Eugene). 


Pupil of Guérin. 
Medals, 1824-48. 

Medal of Honor (E. U.), 1855. 
Legion of Honor, 1831. 
Officer, 1846. 
Commander, 1855. 
Member of the Institute, 1857. 
Born, 1798. Died, 1863. 


“Copy of a Painting by Van Dyck, Entitled ‘Christ Wept Over 
by the Virgin and Angels.’ ”’ 


8%4 x 12% 


: 184 
LELOIR (Louis). 

Pupil of his Father. 
Medals, 1864-68-70. 
Legion of Honor, 1876. 
“The Angel of the Dawn.” 


18% x 10 


185 
JACQUET (Gustave). 
Medals, 1868-75-78. Exposition Universal. 
Legion of Honor, 1879. 
Hors Concours. 
“Portrait Head.” 
; 138% x 10% 


[39] 


BESNART (A. P.). 
Prix de Rome, 1874. 

Medal of Third Class, ‘187 

Second, 1880. _ a 

Legion of ‘Honor, 1888. | 

Hors Concour, 1889. Exposition Unt 
Officer of Legion of Honor, 1895. 
Member of Jury, Exposition Une ; 
Commandant of Legion of Honor, 1903. 
Hors Concours. 

Born, Paris. Died, 1908. 


‘*‘Motherhood.”’ 


14% x 11% 


187 


DAUMIER (Honoré). 
“Good Friends.”’ 


9% x 12% 


; 188 
SIMONS (Marcius). 
Pupil of Vibert. 


Chevalier of the Legion of Honor. 
Died, Bavaria, 1909. 


“Ye Loving Hearts.” 


8% x 19% 


189 
PRIOU (Louis). 
Pupil of Cabanel. 
Medal, 1867. ~ 
Medal of the First Class, 1874. 
Medal, Exposition Universal, Sasi 
Hors Concours. 


“Family of Satyrs.” oe fale 
21 x 25, es? 


[40] 


190 
VIGNON (Victor). 
“Hamean in Normandy.”’ 


181% x 15% 


191 
WEISZ (Adolphe). 


Pupil of Jalbert. 
Medals, 1875-88. 


“Waiting Room of the Minister.” 
fi we aA 


192 


LEMMENS (E.). 
“Duck Pond.”’ 


38% x 7 


193 
BESNART (A. P.). 


’ 


“Crossing the Bridge.’ 
14% x 11 


194 
ERNST (Rudolph). 
Pupil of Feuerbach. 
Born, Vienna, Austria. 


“Algerian Moor.’’ 


10 x 8% 


195 
COOMANS (Joseph). 
Born, 1816. : 
Pupil of de Keyser and Wappers at Antwerp. 
Medals at Brussels, 1848. 
Hague, 1859. 
Metz, 1861. 
Rouen, 1863. 
Lydenham, 1874. 
Chevalier of the Order of Leopold. 


“Girl in Classic Drapery.”’ 
9% x64 
[41] 


196 
RUDEAUX (Eos 


Pupil of Savieille and Boulanger. 
Born, France. 


‘‘Under the Orchard Tree.”’ 


8% x 5% 


197 
PASINI (A.). 
Puptl of Ciceri. 
Medals, 1859-63-64. 
Legion of Honor, 1868. 
Grand Medal of Honor, (KH. U.), 1878. 
Officer of the Legion of Honor, 1878. 
Born, 1826. Died, 1899. 


“In the Market Place.”’ 
10: 3:16 


198 
LONGUET. 
“The Huntsman.”’ 


21 x. 154% 


199 


PALIZZI (Giuseppe). 
Pupil of Troyon. 
Born, Lanciano, in the Abruzzi, 1812. Died, 1898. 


‘*Landscape.”’ 


18) 


6Yy x 


200 


DESGOFFE (Blaise). 
“Fruit Study.” 


9x 6% 


[42] 


201 


PLASSAN (A. E.). 
‘‘Landscape at Cernay.”’ 


53%, x 10 


202 
L’HUILLIER (Charles). 
Pupil of Collaborateur of Pils. 
Decorator of the School of Fine Arts, Havre. 
Born, 1826. Died, 1900. 


“Refreshing the Horses.” 


25144 x 20 


203 


VIGNON (Victor). 
“Still Life.” 


Te Gis 


204 
HOVENDEN (Thomas). 


“Breton Farmer’s Wife Blowing the Dinner Horn.”’ 


24% x 14% 


205 
GRISON (A.) 
Honorable Mention, 1885. 
Medal, 1890. 


“The Butcher Shop.” 
121%, x 10% 


206 
JONGKIND (attributed to). 


“Borders of the Seine at Passy.”’ 
6x 9% 
[43 ] 


7 = a, ) 
ay oe : 5 ss 

i ba 
. * , : 
Pe te 

ie 

Y 
207 


BERRE. | 
Born at Antwerp. 
Medals, 1810-17. 
“Study of Cattle.” 


10 x 12% 


; 208 
JONGKIND (Johan Barthold). 


Born, Lathrop, 1819. 
Died, Dauphine, France, 1891. 


“Moonlight on the Canal.” 
10 x 14% 


. 


VILLAIN (Eugene). 


209 


“Still Life.” 
10 x 18% 


210 


MILLET (J. F.). 
“Drawing, ‘The Gleaners.’ ”’ 


7% x 10% 


211 
THIOLLET (A.). 


“Study of the Beach, Villerville at Low Tide.” 
11 x 16% | 


212 


MICHALLON. : 
Born, 1796. Died, 1822. 


“Ruins of the Theatre of Taormin 


~ 


14% x 18% 


- A a by Mr. Lucas states that this artist was the 
orot. : ge 


[44] oe 


Bent tere 


213 


LALANNE (Maxime). 
Decorated, 1875. 


Born, Bordeaux, 1827. Died, 1886. 
“A celebrated Engraver, Etcher, Designer and Painter.” 


“Trouville.”’ 


8% x 15 


: 214 
HENNER (J. J.). 
Pupil of Drolling. 
Prize of Rome, 1858. 
Medals, 1863-65-66-78 (EK. U.). 
Legion of Honor, 1873. 
Officer of the Legion of Honor, 1878. 
‘“‘Nymph.”’ 


9% x 12% 


215 


BONVIN (Francis S.). 
“Still Life.” 


16% x 18% 


216 


LELEUX (A.). 
Pupil of Ingres. 


Medals, 1844-47-48-59-57. 
Decorated in 1860. 
Born, Paris. 


‘‘Woman Peeling Vegetables.” 
18% x 151% 


217 


HEREAU (Jules). 
“At the Horseshoer’s.”’ 


10 x 19% 
: [45] 


A 


PATROUILLARD (J.). 


218 


“Studying the Vase.” _ 
: x 
138% x 10% 


This artist sometimes signed his name ‘‘Degrave.”’ 


219 
DOMINGO y MARQUES (D. Francisco). i Rees 

Pupil of Royal Academy, San Carlos, of Valenci 

Pensioned by native town, studied at Rome, 1868-6 

First Class medal, National Exhibition of Fine Arts, Ma 

Professor of Academy of Valencia. 

Commander of Order of Don Carlos III, 1876. — 

Grand Cross of Order of Isabella the Catholic, 1883. 

Municipality of Valencia named a street after him, 

Member of Royal Academy at Antwerp, 1888. 


“Portrait Study.” — 
Th x 5% 


220 
BONINGTON (Richard Parks) (attributed to), 
Born at Arnold, near Nottingham, 1801. 

Pupil of Baron Gros. aa 

Died, 1828. ers 

Landscape. 


ae aga 5 


221 | 
Le PRINCE (Xavier). of 
) “The Water Gat 


8% x 11% 
3 cy ee 


222 
SCHREYER (Ad.). 
Medal, Brussels, 1863. 


Cross of Order of Leopold, 1864. 

Medals, Paris, 1864-65-67 (H. U.), Vienna (E. U.), 1873. 
Member of Academies of Antwerp and Rotterdam. 
Honorary Member of the Deutsches Nachstift. 

Born, 1828. Died, 1899. 


“Tending the Horses.”’ 


223 
‘Arab Horseman.’’ 


12Y, x 9% 


224 
DIAZ (N.). 
‘‘Parrakeets on a Basket of Fruit.’’ 


19 x15 


225 
HUNT (Wm. Morris). 


Born, 1824. Died, 1879. 
“Study of Half Draped Figure.”’ 
16% x 13 


226 
GAUTIER (Armand). 
Pupil of Cogniet. 


Born at Lille. Died, Paris, 1894. 
“Study of Fish.” 
12 x 19% 
[47] 


. 227 
LOUTHERBOURG (Jacques). 


Pupil of Casanova. _ 
Born, Strasburg, 1740. Died, Lond 


“At the Drinking Trough.” as 
7% x 84% 


228 


VERON (A. °R.). 
Pupil of Delaroche. 


‘*Landscape.” 


8% x 14% 


229 
ROUSSEAU (Theo.). 
Pupil of Léthiére. 
Medals, 1834-49-55. | 
Legion of Honor, 1852. — ite tiie ee 
One of the Eight Grand Medals of Honor (EL U. ( 


Diploma to the Memory of Deceased Artists, Exposition 1 
Born, 1812. Died, 1867. “ 


“Landscape at Sunset.” 


64x 9 


230 


11 x 14 


231 
LEPERE (Louis Auguste). 


Wood Engraver. 

Medal of the Third Class, 1856. 
Medal of the Second Class, 1887. 
Medal, 1889, Exposition Universal. eh 
Chevalier of the Legion of Honor, 1900. 
Born, Paris. ee 


[48] 


“ } “er : Ne \ 


232 
COROT (J. B. C.). 
Pupil of V. Bertin. 


Medals, 1838-48-55-67 (HE. U.). 
Legion of Honor, 1846. 
Officer of the Legion of Honor, 1867. 
Diploma to the Memory of Deceased Artists, Exposition Universal, 1878. 
Born, 1796. Died, 1875. 
“The Bridge.” 


8% x 10% 


233 
. “Environs of Ville D’Avray.”’ 


138 x 16% 


234 
‘‘Highroad near Ville D’Avray.”’ 
18% x 25 


235 
“Study of Landscape.”’ 


94%x 124% 


236 
“‘Thatched Village.” 
151%4 x 19 


. 237 
ROUSSEAU (Theo.). 


‘“‘Forest at Fontainebleau.’’ 
138 x 22% 
[49 ] 


Te 7. 


238 


Pe hare nee “Evening Landscape.” 


4%, x 8% 


239 
DIAZ (N.). 
“In the Forest.” 


IOs 


240 
ROUSSEAU (Leon). | 
“Study of Flowers.” 


Tl, = hike 


eae) 
JACOMIN (Marie Ferdinand). 


“Forest of St. Germain.” ey 


7% x 9% 


242 
MONTICELLI (Adolphe). 


“Study of Sunset.” 
8% x 11% 


243 

LEYENDECKER (P. J.). ene 
Pupil of GérOme. 
“Study in the Forest of Font in 


Ohaus 11% x 153 


eee 


244 
CAZIN (J. C.). 
Pupil of Boisbaudran. 


Medal, 1880. 
Legion of Honor, 1882. 
Officer of Legion of Honor, 1889. 


“Early Evening.” 
83% x 10% 


245 
‘“‘The Ferry.” 
4% x 94% 


VEYRASSAT (Jules). 


246 
MAILLAND. 
‘‘Peaches.”’ 


10 x 15% 


247 


FAUVELET (Jean). 
“The Smoker.’’ 


6% x 5 


248 
JACQUE (Charles Emile). 


‘The Planet Jupiter.” 
144% x 114 


249 
WILLEMS (F.). 


Medals, 1844-46-55-67- (KH. U.). 
Medal at Brussels, 18438. 
Chevalier of the Order of Leopold. 
Legion of Honor, 1858. 
Officer of the Order of Leopold, 1855. 
Officer of the Legion of Honor, 1864. 
First Class Medal (E. U.), 1878. 
Died, 1905. 


“Forest of Fontainebleau, the Viewpoint known as the 
‘Camp de Chailly.’ ”’ 


19% x 14 
[51] 


250 


BAUDIT (Amedie). 
Born at Geneva. 
Pupil of Diday. 

Medals, 1859, 1861. 


‘‘Landscape.”’ 


101%, x 18% 


‘ 251 

GIDE (Theophile). 
Pupil of Delaroche. 
Medals, 1861-65-66. 

Legion of Honor, 1866. 


‘‘The Monastary Laboratory.” 
9x 6% — _ 


252 


GEROME (J. L.). 
Pupil of P. Delaroche. 7 
Medals, 1847-48 (HE. U.), 55. ea 
One of the Hight Grand Medals of Honor (BH. U. ) 18¢ 
Officer of the Legion of Honor, 1867. __ 
Grand Medal of Honor, 1874. : 
Commander of the Legion of Honor, 1878. ¥ 
Medal Sculpture (BH. U.), 1878. a uae 
Grand Medal of Honor (E. U.), 1878. 
Professor in the School of Beaux Arts. 
Member of the Institute of France, 1865. 


** Muscadin.”’ 


13% x 9% 


~~ 


253 om 
VIGNON (Victor). 
“Spring Landscape.” 
10 x 13% - 
oe 


[52] 


254 


FICHEL (E.). 
Pupil of Paul Delaroche. 


Medals, 1857-61-69. 
Legion of Honor, 1870. 
“In the Library.” 


6% x5 


255 


PLASSAN (A. E.). 
“The Promenade.” 


6 x 3% 


256 
GOENEUTTE (Norbert). 


‘‘A Venetian Balcony.” 


154% x 181% 


257 
THIOLLET (A.). 
“Port of Villerville.” (Normandy.) 


15 x 24 


258 
“Fish Auction on the Beach at Villerville.”’ 


11x 15 : 


259 
CONSTABLE (John), R. A. 
Associate Royal Academy, 1819. 
Academician, 1829. 
Born at East Bergholt, Suffolk, 1776. Died, 1837. 
“Rugged Cliff and Drifting Clouds.” 
713%, x 4% 


[53] 


4 


260 
MEISSONIER (J. L. E.). 


Pupil of Cogniet. ~ 
Medals, 1840-41-43-48. Sat 
Legion of Honor, 1846. a 

Grand Medal of Honor ( 1) a Bae 1855. es 
Officer of the Legion of Honor, 1856. 
Member of the Institute of France, 1861. 
Honorary Member of the R. A., London. — 

One of the Hight Grand Medals of Honor (BE. U.), 1 

Commander of the Legion of Honor, 1867. — 
Grand Medal of Honor (BE. U.), 1878. 
Born, 1813. Died, 1891. 


‘‘Port Marly, on the Banks of the Seine.” _ 
3% x 4% | 


261 
UNKNOWN ARTIST. 


‘Study of Landscape.” 
s 734,x 4% 


262 


DUPRE (Jules). 
Medals, 1833 (E. U.), 1867... 

Legion of Honor, 1849. 

Officer of the Legion of Honor, 1870. 

Born, 1812. Died, 1889. 

“The Windmill.” 


10% x 17% 


263 
NAZON (Francois Henri). 


Pupil of Gleyre. | iad 
“Landscape.” aC. 
18% x 19 © re 
[54] 


264 
GLEYRE (Charles). 
Pupil of Hersent. 
Medals, 1843-45. 
Never Hxhibited After 1848. 
Born, 1807. Died, 1874. 
“Return of the Prodigal Son.” 


15% x 11% 


265 
LAMBINET (Emile). 
Pupil of Drolling and Horace Vernet. 
Medals, 1848-53-57. 
Decorated, 1867. 


“On the Seine at Bougival.”’ 


54x 10% 


266 
THIOLLET (A.). 


“Departure of the Fishing Fleet from Villerville.”’ 
9x 17% 


267 
PASCUTTI (Antoine). 


Pupil of the Beaux Arts Academy, Venice. 
Born, Trieste, Austria. 


“Costume Study.”’ 


7x 3% 


268 
BUTIN (Ulysée Auguste). 


Pupil of Picot and Pils. 
“Waiting at Villerville.”’=--Sketch for the Painting. 
24% x 14% 


[55] 


269 
BOUDIN (Eugene). 


“Last of Great Masters of the Scneat™ i 
but first to adopt Impressionist Methods, 
though in a rational fashion.” 

Born, Honfleur, 1825. Died, Deanyilis: 1898. 


“Outside the Bar.” 7 ce 
13% x 19% 


270 
JOURDAN (Adolphe). 
Pupil of Jalbert. 


Medals, 1864, 1866, 1869. 
Born, Nimes. 


“The Peasant Child.’’ 
10 x 7% 


271 
FLERS (Camille). 
“Normandy Orchard.” 


20% x 24% 


272 
GUIGNET (Adrien). 
“Guarding the Pass.” 


10% x 7% 


| 273 
LAMBINET (Emile). A 


[56] 


IN THE COLLECTION BEQUEATHED BY MR. 
LUCAS TO THE INSTITUTE WAS ALSO IN- 
CLUDED A NUMBER OF SKETCHES AND DRAW- 
INGS ADAPTED FOR USE IN THE STUDIOS 
AND CLASS ROOMS, ALSO ABOUT TEN 
THOUSAND ENGRAVINGS, ETCHINGS, PROOFS 
AND PRINTS, AND A WORKING LIBRARY 
OF SOME FIFTEEN HUNDRED VOLUMES. 


Pa 


796 + A ae 


ANTOINE LOUIS BARYE 
1795 - 1875 


| 
i 
. 


ee 


Peel N Er LOUIS BARYE, 


“The man of genius whose work is represented in this exhi- 
bition enjoyed an inspiration rare in any epoch, but never, from 
the earliest times, without its zealous followers. In nearly 
every great school there have been artists to whom the appeal 
of the animal as a subject for treatment has been as urgent as 
the appeal of the human figure has been to the majority of 
their fellows. * * * Antoine Louis Barye is an honorable 
figure in a long line of artists whose gifts have been dedicated 
to the interpretation of the carnivora of those four-footed 
creatures which have been tamed by man. 

“Born in Paris in 1795, he came to manhood at a time and 
amid circumstances exceptionally favorable to the growth of 
his artistic predilections. In the clash of the Napoleonic wars 
man’s minds turned naturally enough to themes of wild vio- 
lence. 

“The story of his career is one of unremitting application to 
the lessons of nature. His father was a silversmith, and in his 
youth he served the apprenticeship of a craftsman. In the 
workshop of Fourrier he learned how to work in the precious 
metals, and it may be noted in passing that down to the day of 
his death he preserved the aptitudes of the goldsmith. Some 
of his statuettes might have easily been produced by a disciple 
of Ceilini. But Barye soon craved a wider field of activity, 
and found the key to it in that impulse which drove him to the 
Jardin des Plantes. Frequenting the collection of wild ani- 
mals there, absorbed.in contemplation of their traits, he pro- 
ceeded to observe them both as an artist and as a naturalist. 

pene te could do this, in the first place, because he 
knew his subjects so well, because he had got, so to say, under 
their skins. * * * It took his countrymen some time to 
realize what he was driving at and to do him honor. In the 


[59] 


competitions which he entered at the Ecole des Beaux-Arts, as 


a young man, the prize would again and again be awarded to 
some rival now unknown to fame. 

“He was sorely tried, and must at times have reached the 
brink of despair. He was, however, no less tenacious than 
modest, and after years of patient waiting he had his reward. 
Discerning patrons entered his life, some of them, like the 
Duke of Orleans, well qualified to make his talent known, and 
little by little public appreciation drew him from the obscurity 
in which academic authorities would have been satisfied to leave 
him. Monumental bronzes of his were erected in Paris and 
elsewhere; his works, executed on a small scale, figured in ex- 
hibitions and were presently acquired with enthusiasm by pri- 
vate collectors. When he died, in 1875, he died in the knowl- 
edge that his rank as a great artist had been fixed, and ever 
since his renown has increased. It is good to know that 
American connoisseurs were quick to perceive his merit, and 
that his art is finely represented in this country.” 


BRONZES 


The bronzes are numbered in regular order, commencing 
with the bust of Mr. Lucas at the right of the entrance door of 
the Barye Room; thence extending along the north wall, around 


the screen of reliefs; across the corner cabinet; through the 


crystal case; and then along the east wall. 

The titles given have been sought with care from original 
sources and record, as far as possible, the names under which 
Barye first exhibited or sold these remarkable observations of 
animal life. 

The variety of patina* displayed in this collection is prob- 
ably unrivaled, and an attempt has been made to classify these 


t 


* The term Patina is generally used to describe an incrustation formed upon 
a bronze after exposure to the weather, or after burial beneath the ground, as in 
the case of certain antique bronzes. As used in describing these bronzes by 
Barye, it should be understood to mean a coloring of the surface of the bronze 
produced by artificial means. It is interesting to note that Barye made some of 
the most important and successful experiments in this field, producing results 
which are as lasting as they are beautiful. 


[60] 


; a 


eae. 
‘ 


aa lal 


illustrations of color experiments under certain descriptive 
terms, such as golden brown patina, antique green patina, etc. 

Whenever possible the year in which the subject is finished 
or known to be exhibited has been added after the title, and 
whenever the bronze displayed is one which has been cast since 
Barye’s death, it is marked “modern.” 


BARYE ROOM. 


400 
BRONZE BUST OF MR. GEO. A. LUCAS. 


The Donor of this Collection. 
By A. Moreau-Vauthier. 


NORTH WALL. 


BRONZES BY ANTOINE LOUIS BARYE 


401 
TIGER DEVOURING A GAZELLE. 


(18380. ) 
*Height, 514 inches; length, 135 inches. 
Green Patina. 
Signed on the Base, “Barye.” 


* The measurements of the bronzes are given in each case in inches, generally 
measured to the nearest quarter inch. The first figure represents the height of 
the bronze as it rises above the shelf; the second figure represents the length of 
the bronze base or plinth. This system of measurements is the method adopted 
by Barye for his catalogues, and has been followed in many collections. In a 
few cases the length of important overhanging elements of certain compositions 
has caused an over-all dimension to be recorfled, and in such cases this fact has 
been especially noted. 


[61] 


402 
SLEEPING JAGUAR. 


Height, 3% inches; length, 124% inches. 
Mottled Green and Brown Patina. 
Signed on the Base, “Barye.” 


This figure of a South American jaguar lying asleep shows 
in a most interesting manner the technique of the sculptor in 
indicating the rounded color spots on its pelt by shallow, in- 
cised lines. 


403 
LION SEATED. 
(1847.) (Modern.) 
Height, 10% inches; length, 12 inches. 
Green Patina. 
Signed on the Base, “Barye,’ and “EF. Barbédienne, Fondeur.” 


This striking sketch is said to have been one of the models in 
plaster in the studio of Barye at the time of his death. It was 
possibly one of the studies made by the master in 1847 at the 
time when he refused to give his permission for the casting of 
a duplicate of the “Seated Lion” which had been placed at the 
Quay Entrance of the Louvre. 


Note.—In 1885 Mr. W. T. Walters erected in Mt. Vernon Place, 
Baltimore, a copy of the Seated Lion of the Quay Entrance, cast by 
Barbédienne. 


404 


JAGUAR DEVOURING A CROCODILE. 
(18387.) (Modern.) 
Height, 344 inches; length, 914 inches. 
Dark Brown Patina. 
Signed on the Base, “Barye,’ and “F. Barbédienne, Fondeur.” 


This modern reproduction of one of Barye’s small bronzes is 
suggestive of the time in the sculptor’s life when his work was 
so seriously misunderstood that the members of the Salon Jury 
refused to accept the examples which de desired to place on ex- 
hibition. The rejection of his small pieces seemed to him to 
prove so rooted a hostility on the part of the Salon Juries that 
he resolved to withdraw from public exhibitions and only show 
his bronzes to those who came to his workshop to buy. After 
1887 he did not appear in the Salon until 1850, when his exhibit 
certainly astonished many people, who did not dream such a 
remarkable artist dwelt in their midst. 


[62] 


—e 


‘ ¥ 
Sure" 


405 
LION CRUSHING A SERPENT. 


(Modern. ) 

(This subject was receiving careful study in 1832-33. ) 
Height, 5% inches; length, 714 inches. 
Brown Patina. 

Signed on the Base, “Barye.” 


In 1889 Mr. Lucas exhibited certain of his bronzes in the 
great exhibition of the Works of Barye at the Ecole des Beaux- 
Arts. (See the painting No. 602 hanging in this room.) In 
that exhibition were displayed the cast in plaster of the “Lion” 
of the Tuileries, and also various smaller studies of the same 
subject. At that time Mr. Lucas catalogued this example as 
“Lion and Serpent, No. 3, Sketch.” 


406 
PYTHON STRANGLING A GAZELLE. 


(Modern. ) 
Height, 7 inches; length 15% inches. 
Golden Brown Patina. 
Signed on the Base, “A. L. Barye,” and “F. Barbédienne, Fondeur.” 


407 
ENGLISH DACHSHUND. 
(1824. ) 
Height, 414 inches; length, 5% inches. 


Brown Patina. 
Signed on the Base, “Barye.” 


408 
WALKING LION. 
(1836. ) 
Height, 138 inches; length, 1514 inches. 


Antique Green and Brown Patina. 
Signed on the Base, “Barye.” 


This example, together with the “Walking Tiger” (No. 422), 
was exhibited by Mr. Lucas in the great exhibition of the 
Works of Barye held at the Ecole des Beaux-Arts in Paris in 
1889, under the title, “Walking Lion and Tiger, a Fireplace 
Fender. ” (See Nos. 565 and 570.) 


[63] 


409 
PANTHER AND ZIBER. 
(Modern. ) 


Height, 434 inches; length, 834 inches. 
Golden Brown Patina. 
Signed on the Base, “Barye.” 


410 
ELK SURPRISED BY A LYNX, 


(1884.) (Modern.) 
Height, 914 inches; length, 12 inches. 
Golden Brown Patina. 
Signed on the Base, “Barye,”’ and “F. Barbédienne, Fondeur.” 


The original of this composition was first exhibited by Barye 
in plaster in the Salon of 1834, and later cast in bronze by the 
“lost wax process” on the order of the Duke of Orleans, who 
presented it in 1836 to Alexandre Dumas the Elder. 


A4Ul 
TARTAR WARRIOR CHECKING HIS HORSE. 


Height, 14% inches; length, 12% inches. 
Antique Brown and Green Patina. 
Signed on the Base, ‘‘Barye.” 


412 
BEAR IN HIS TROUGH. 
(1834.) (Modern.) 


Height, 41%4 inches; length, 5% inches. 
Golden Brown Patina. 
Signed on the Base, “Barye,”’ and “F. Barbédienne, Fondeur.” 


The original of this little bear was cast by the “lost wax 
process” for the Duke of Orleans and first exhibited in the 
Salon of 1834. It shows how well the sculptor could treat the 
comic side of his animal study as well as the tragedies of the 
forest. 


[64] 


ae 


413 
JAGUAR DEVOURING AN AGOUTI. 


(1847.) (Modern.) 
Height, 3 inches; length, 914 inches. 
Golden Brown Patina. 
Signed on the Base, “Barye.” 


This subject was a study that the great sculptor made when 
he was working out in his mind that marvelous example of the 
“Jaguar Devouring a Hare,” which is one of the gems of both 
the Walters Gallery and the Corcoran Gallery of Art. It shows 
much of the same vigor of the larger group which came up to 
the Salon in plaster in 1850, was cast in bronze and exhibited 
again in 1852, and purchased by the Minister of the Interior 
for the Luxembourg collection, but is now in the Louvre. 


414 
THESEUS FIGHTING THE MINOTAUR. 


(1848. ) 
Height, 18 inches; length, 11% inches. 
Brown Patina. 
Signed on the Base, “Barye.” 


This, says Mr. Lucas in a note on this bronze, is “one of the 
first proofs” of this famous work. 

It represents a contest of mind over brute strength, and typi- 
fies the triumph of civilization over barbarism. 

This group, together with that of Roger and Angelica on the 
Hippogriff (No. 574) and the Centaur and Lapith (No. 567), 
represent the heights to which Barye could attain in the treat- 
ment of classic story. 

It may be interesting to note the different treatment of the 
figure of Theseus and the way the animal-like Minotaur has been 
rendered. To the latter has been given all the realism which 
marks Barye’s other animal groups, while Theseus has been 
modeled after the fashion of some of the primitive antique 
Greek statues. 


[65] 


415 
OCELOT AND HERON. 


Height, 65g inches; length, 1214 inches. 
Brown and Green Patina, with rich Red Browns brought out 
by rubbing. 
Signed on the Base, “Barye.” 


Barye was not only a master of form and the most accom- 
plished bronze founder in the world, but was a colorist as well. 
The secret of the patinas found on antique bronzes was thor- 
oughly pondered and understood by him. It is only necessary 
in this collection to observe the variety of greens, red and 
bronze browns, and golden bronzes that greet the eye to realize 
the master’s power as a colorist in this field. 


416 


(1834. ) 
Height, 54 inches; length, 8 inches. 
Mottled Brown Patina. 
Signed on the Base, “Barye.” 


LOLLING BEAR. 


417 
AFRICAN BADGER (Ratel) ROBBING A NEST. 


(Modern. ) 
Height, 4% inches; length, 484 inches. 
Golden Brown Patina. 


Every line from the lifted paw to the stubby tail of this dis- 
tant cousin of the bear expresses the humorous satisfaction at 
the finding of such a good dinner. A lively figure, broadly 
modeled and finished in the charming color scheme which M. 
Barbédienne so conscientiously produces. 


418 
HORSE SURPRISED BY YOUNG LION. 
(1834. ) 
Height, 16 inches; length, 11 inches. 


Antique Brown Patina. 
Signed on the Base, ‘‘Barye.” 


This spirited group was first exhibited by Barye in plaster in 
the Salon of 1833 and cast in bronze and exhibited in the Salon 
of 1834. (See No. 433.) 


[66] 


pa Ss) 


I 
LION DEVOURING A DOE. ous 


(1837. ) 
Height, 51% inches; length, 1214 inches. 
Dark Brown Patina. 
Signed on Base, “Barye, 1837.” 


This bronze, which is one of the comparatively few which are 
dated by the master, marks, like the “Jaguar Devouring a Croc- 
odile” (No. 404), one of the examples produced in those first 
vears when he refused to send examples to the Salon. The 
treatment of the lion’s tail as it is raised in expression of en- 
joyment of the feast reminds one that ‘no artist before or since 
has known so well how to render the expressions that the great 
and little members of the cat family register by the sinuous 
movements of their tails.” 


420 
STAG SEIZED (by the throat) BY A WOLF. 


(Modern. ) 
Height, 834 inches; length, 1814 inches, including the antlers. 
Golden Brown Patina. 
Signed on the Base, “Barye,”’ and “F. Barbédienne, Fondeur.”’ 


421 
TIGER DEVOURING GAVIAL (Crocodile) OF GANGES. 


(1831.) 
Height, 414 inches; length, 10% inches. 
Antique Green and Brown Patina. 
Signed on the Base, “Barye, 1881.” 


Chis example, which Mr. Lucas has marked “No. 2,” is one of 
three bequeathed by him to the Institute. This was the ex- 
ample with which Barye gained a Second Medal in 1831. 


422 
WALKING TIGER. 
é (1836. ) 
Height, 1244 inches; length, 15% inches. 
Antique Green and Brown Patina. 
Signed on the Base, ‘“Barye.” 


See notes under Nos. 408 and 570. 


[67] 


423 
HORSE, HALF-BLOOD (Head Lowered). 


(Reduction. ) 
Height, 434 inches; length, 6% inches. 
Antique Green Patina. 
Signed on Base, “Barye.” 


424 
GRAYHOUND AND HARE. 
( Modern. ) 


Height, 81% inches; length, 12% inches. 
Golden Brown Patina. 
Signed on the Base, “Barye.”’ 


425 
EAGLE ON ROCK WITH WINGS EXTENDED. 


Height, 414 inches; spread of Wings, 1284 inches. — 
Green Patina. 
Signed on the Base, “Barye.” 


In 1835 Barye was asked by M. Thiers to model a design which 
should serve as a crowning feature for the newly finished Arc de 
Triomphe. ‘The sculptor submitted a large model of an eagle some 
70 feet from tip to tip of outspread wings alighting on the spoils of 
war gathered from many nations For diplomatic reasons this bold 
scheme was never carried out, and it has been suggested that the 
statuettes of eagles with outspread wings may have been studies for 
the large model. (See also No. 439.) 


426 
PANTHER WITH PAW CN MUNTJAC DEER. 
(1839.) (Modern. ) 
Height, 4 inches; length, 814 inches. 
Dark Golden Brown Patina. 
Signed on Base, “Barye.” 


[68] 


427 
DACHSHUND. 
(Modern. ) 
Height, 64% inches; length, 914 inches. 
Brown Patina. 
Signed on Base, ‘Barye.”’ 


This bronze probably represents the type of German badger 
hound common in Barye’s day, and not the more extreme type 
of the modern dog thus named. 


428 
WOUNDED BOAR. 
(18389.) (Modern.) 
Height, .634 inches; length, 9% inches. 
Brown Patina. 
Signed on Base, ‘Barye.” 


429 
SEATED LION. 
(1836.) (Modern.) 
Height, 14 inches; length, 1114 inches. 
Golden Brown Patina. 
Signed on Base, ‘“Barye.” 


This is believed to be a reduction by Barye of his famous 
Seated Lion. 


430 
BASSET SITTING. 


(Modern. ) 
Height, 51% inches; length, 10% inches. 
Golden Brown Patina. 
Signed on the Base, “Barye,” and “F. Brabédienne, Fondeur.” 


431 
JUNO OF THE NINE-FIGURE CANDELABRUM. 
(1840.) 
Height, 12 inches; length, 5% inches. 
Gold Patina. 
Signed on Base, “Barye.” 


[69] 


This Candelabrum was one of two planned to light the group 
of Roger and Angelica on the Hippogriff. (See No. 574.) It 
consisted of Three Graces standing with interlocked arms above 
the cups for the candles; below, on the shaft, were three renais- 
sance monsters, and about the lower shaft, as a base, were 
seated the three goddesses—Juno, Venus and Minerva—who 
await the judgment of Paris concerning their beauty. With 
Juno we see the sceptre and peacock, and she sits haughtily as 
becomes a queen secure in royal dignity. (No. 485 represents 
the Minerva of this group, and in No. 563 we see a second re- 
production of Juno in another patina.) 


432 
TIGER DEVOURING GAVIAL (Crocodile) OF GANGES. 


(18381.) 
Height, 4144 inches; length, 1084 inches. 
Antique Brown Patina. 
Signed on Base, “Barye.” 


This is a second example of this subject in Mr. Lucas’ collec- 
tion. (See Nos. 421 and 487.) 


433 
HORSE SURPRISED BY YOUNG LION. 


(1834.) 
Height, 16 inches; length, 11 inches. 
Antique Brown Patina. 
Signed on the Base, ‘‘Barye.” 


A second example of No. 418. 


434 
APE RIDING A GNU. 
(1842.) (Modern.) 


Height, 9 inches; length, 9%4 inches. 
Dark Antique Green Patina. 
Signed on the Base, “Barye.” 


“Barye was permeated with the scientific spirit of the age, but his 
ideas were necessarily lacking in the clearness they might have gained 
later in the century, and the forms in which to express them were 
necessarily limited to those already known and at least partially 
accepted as beautiful by men of cultivation. He could not very well 
model an imaginary Missing Link. * * * But what he did do on the 
less artistic side was to advance a step from the combats of wild crea- 
tures to the first faint appearance of the subjection of one beast by an- 
other for its own profit.” 


[70] 


435 
MINERVA OF THE NINE-FIGURE CANDELABRUM. 


(1840.) (Modern.) 
Height, 12% inches; length, 5% inches. 
Gold Patina. 
Signed on the Base, “Barye,” and “F,. Barbédienne, Fondeur.” 


This little statuette represents a second figure from the fa- 
mous Candelabrum, planned to light the group of Roger and 
Angelica on the Hippogriff. (See No. 574.) Minerva is seen 
with owl and sword, and sits in self-reliant fashion as befits a 
warrior maiden. (See Nos. 431 and 563 for the Juno. ) 


; 436 
INDIAN PANTHER RECLINING. 


Height, 314 inches; length, 7% inches. 
Golden Brown Patina. 


Mr. Lucas carefully pasted upon the base of this example a 
note, “Panther reclining, superb specimen, not signed, G. A. L.” 


437 
JAGUAR STANDING. 
(1840.) (Reduction. ) 
Height, 5 inches; length, 7% inches. 
Antique Brown and Green Patina. 
Signed on the base, “Barye, 1840.” 


Mr. Lucas marked this bronze ‘“‘No. 1.” 


438 
WOUNDED BOAR. 
(1839.) (Modern. ) 


Height, 654 inches; length, 9% inches, 
Dark Brown Patina. 
Signed on the Base, “Barye.” 


A second example of No. 428. 
[71] 


439 
EAGLE ALIGHTING (Open Beak). 


Height, 984 inches; spread of wings, 1314 inches. 
Antique Brown and Green Patina. 
Signed on the Base, “A. L. Barye.”’ 


A second study, which may have been made at the time the 
master was engaged on the large model requested for the Are 


de Triomphe. (See No. 425.) 


SCREEN OF RELIEFS, NORTH FACE 


440 


MME. BEAUHARNOIS DE LA VALLETTE. (1843) David. 


441 
ALPHONSE DE LAMARTINE. (1830) 


442 
ST. JUST. 


443 
SAMUEL PUTNAM AVERY. (1903) 


“To Samuel Putnam Avery, M. A. 


from the artist, 1903.” 


444 
ARCHILE ROCHE. (1831) 


445 
KLEBER. (1831) 


446 
J. P. DeBARRANGER. (1830) 


[72] 


David. 


David.. 


V. D. Brenner. 


A tribute of friendship 


David. 


David. 


David. 


447 
ALAVOINE. (Architect, 1883) 


448 

JEREMY BENTHAM. David. 
449 

RAGMEY. (1833) David. 
450 

E. CHEVREUL. (1830) David. 
451 

BENJAMIN FRANKLIN. Nini. 


“Benjamin Franklin, American.” A reproduction in electro 
of the celebrated medalist, Nini. 


452 


ROBESPIERRE. (1835) David. 
453 

A. INGRES PICTOR. (1826) David. 
454 

LOUIS BOULANGER. (1824) David. 
455 

GERICAULT PICTOR. (1830) David 
456 


LAEMMERGEYER AND SERPENT (Bas Relief). (1826) Barye. 


Height, 4 inches; length, 644 inches. 
Brown Patina. 


[73] 


4 


457 
PUMA (Bas Relief). (1831) 


Height, 2% inches; length, 5%4 inches. 
Brown Patina. 


458 
EAGLE AND CHAMOIS (Bas Relief). (1826) 


Height, 5 inches: length, 714 inches. 
Brown Patina. 


459 
VIRGINIA HART (Bas Relief). (1831) 


Height, 3% inches; length; 5% inches. ie 
Brown Patina. Fe 


460 
POINTER AND DUCKS (Bas Relief). (1824-25) 


Height, 4% iiches; length, 6 inches. 
Brown Patina. 


Aor = 
LAZZARONE. 
- Bronze Head by A. Moreau-Va 


[74]: ae 


ot ete ae, 


SCREEN OF RELIEFS, SOUTH FACE. 


462 

ALFRED JOHANNOT. (1831) David. 
463 

D. J. LARREY. (1832) P. J. David. 
464 

LE GENERAL BONAPARTE. David. 
465 

MOZART. : David. 
466 : 

J. U. NIEMCEWICK. (1833) ; David. 


This relief carries the inscription “Fuimus.” 


467 

CHARLES NICHOLAS FABVIER. (1828) David. 
468 

GUSTAVE HANEKE. (1834) P. J. David. 
469 

LATOUR D’AUVERGNE. D’ Angers. 


“First Grenadier of the French Republic.” 


He was thus called by Napoeon when he refused the rank of 
General. So great was the admiration with which he was re- 
garded that from his death in 1800 to 1814 his name was re- 
tained on the roll-call of his company as a mark of honor, the 
color-sergeant answering “Dead on the field of honor” when it 
was called. 


[75] 


; 479 
FELIX FEYBOTIER. 


471 
H. DAUMIER. (1879) 


“Done by his friend, Geoffroy de Chauaee! ane : 
1879.” (See pictures. in the Gallery numbered & 
187.) 


472 
GIUDITTA PASTA DIMILANO. (1828) 


_ 


473 
GEORGES CUVIER. (1832) 


474 
EUGENE F. M. J. DEVERIA. (1828) 


475 

GRANET PICTOR. (1827) 
476 

LE GENERAL MASSENA. 
: 477 


L’ABBE DE LA MENNAIS. (1831) 


CHATEAUBRIAND. (1830) 


479 
LEOPARD (Bas Relief). (1831) 
Height, 2% inches; length, 514 inches. 
Brown Patina. 
480 
RUNNING ELK (Bas Relief). (1831) 


Height, 4 inches; length, 554 inches. 
Brown Patina. 


481 
EAGLE AND CHAMOIS (Bas Relief). (1826) 
Height, 4%4 inches; length, 6 inches. 


Brown Patina. 
Signed, “Barye.” 


A second example of No. 458. 


482 
LAEMMERGEYER AND SERPENT (Bas Relief). (1826) 


Height, 4 inches; length, 5% inches. 
Brown Patina. 


483 
GENETTE CARRYING A BIRD (Bas Relief). (1831) 
Height, 3 inches; length, 5%4 inches. 


Brown Patina. 
Signed, “Barye, 1831.” 


CORNER CABINET. 


484 
GLADIATOR ,WITH TRIDENT AND NET. 
Height, 15 inches; diameter of Base, 5% inches. 
Dark Antique Green Patina. 
Signed on the Base, J. L. Gér6éme. 


[77] 


Barye. 


Barye. 


Barye. 


Barye. 


Barye. 


Cérome. 


485 
TIGER DEVOURING GAVIAL (Crocodile) OF GANGES. (1831) 
Height, 4144 inches; length, 1034 inches. 


Dark Golden Brown Patina. 
Signed on the Base, “Barye.” 


This is the third example of this subject in Mr. Lucas’ collec- 
tion. (See Nos. 421 and 432.) 


486 
SEATED LION, 


Height, 814 inches; length, 6 inches. 


Golden Brown Patina. 
Signed on the Base, “Barye.” 


Mr. Lucas had marked upon this bronze “No. 2.” It is prob- 
ably another one of the series which Barye worked out at the 
time his mind was occupied with those studies noted under Nos. 
403 and 429. 


487 
TIGER DEVOURING A GAZELLE. (1830) 
Height, 5 inches; length, 1314 inches. 


Antique Brown Patina. 
Signed on the Base, “A. L. Barye.” 


A second example of the subject noted under No. 401. 


488 
DROMEDARY OF EGYPT. (1827) (Modern) 
Height, 534 inches; length, 5% inches. 
Golden Brown Patina. 
Signed on the Base, ‘“Barye.” 


[78] 


489 
LION CRUSHING A SERPENT. (1832-33) (Modern) 


Height, 954 inches; length, 14 inches. 
Golden Brown Patina. 
Signed on the Base, ‘“Barye.” 


This modern reproduction of a reduction by Barye of his fa- 
mous colossal group in the Gardens of the Tuileries in Paris 
(see the painting by Bonnefoy on the wall behind this case) is 
one which has been much sought after by collectors. Barye 
first exhibited the “Lion and Serpent” in plaster in the Salon 
of 1832. In 1833 the Government purchased this group, and 
in 1835 it was cast by the famous bronze worker, Honoré Gonon, 
by the “lost wax process,” and set in the Gardens of the Tuiler- 
ies. This composition brought upon the sculptor much criti- 
cism from those who could not appreciate his power and pur- 
pose. 

A broad-minded Ministry, however, purchased the masterly 
group and placed it where the dark rich bronze so happily rests 
beneath the trees above the Seine. 


490. 
LION OF THE COLUMN OF JULY, 
PLACE DE LA BASTILLE, PARIS. 


(A Modern Reduction of the Monumental Bas Relief 
Ordered in 1838 and Exhibited in 1859.) 
Height, 13 inches; length, 20 inches 
Gold Patina. 

Signed, “Barye,’ and “EF. Barbédienne, Foudeur.” 


This bas relief, which forms part of the decoration on the 
base of the Column of July in the historic square, is one which 
the art lovers of Paris rightly deem to be one of Barye’s monu- 
mental reliefs. It is so highly appreciated that when a cast 
was requested for the Universal Exposition of 1889, the en- 
gineer in charge of the Column refused to grant permission. 
He maintained that if the taking of the cast did not injure the 
bronze by filling up the fine cuts and scratching the surface, 
that there was no telling what effect it might have on the fa- 
mous Barye patina. 


[79] 


; 491. 
FIREPLACE FENDER. 


Extends 3 feet, 254 inches. 


492 
FIREPLACE FENDER. 


Extends 3 feet, 134 inches. 


493 
COCHIN CHINA ELEPHANT. (1833) (Modern) 
_ Height, 6 inches; length, 8 inches. 


Golden Brown Patina. 
Signed on the Base, “Barye.” 


was about thirty-seven years of age. 


494 
LION HOLDING AN ANTELOPE, 


Height, 4% inches; length, 11 inches. 
Dark Golden Brown Patina. 
Signed on the Base, “Barye.” 


In this group, which suggests the “Lion Devourin, 
No. 419, the lion has evidently been interrupted in | 
and raises his head with a growl which can almost be he: 


495 
SEATED LION. 


Height, 7 inches; length, 514% inches. 
Antique Brown and Green Patina. — 
Signed on the Base, “Barye.” 


Mr. Lucas has marked upon this bronze “No. 3.” : 
is another one of the series which Barye worked ou 
his mind was occupied with those studies ape w 
and 429. ‘ 


[80] 


i aaa a i le 


496 
LOLLING BEAR. (1834) (Modern) 
Height, 4 inches; length, 484 inches. 


Dark Brown Patina. 
Signed on the Base, ‘“Barye.” 


This subject, representing another of his bear studies (see 
Nos. 412 and 416), was among the models left by Barye at his 
death and since cast in bronze. 


497 


GLADIATOR WITH HELMET, SWORD AND SHIELD Gérome 


Height, 1514 inches; diameter of Base, 514 inches. 
Dark Antique Green Patina. 
Signed on the Base, “J. L. Géréme.” 


CASE OF SMALL BRONZES—WEsr SIDE. 


498 
CROUCHING RABBIT. (1828) 


Height, 1% inches; length, 314 inches. 
Golden Brown Patina. 


These little bronzes, which were in many cases meant for 
paper-weights, show all the characteristics of a great artist. 
They are finely proportioned, broadly massed, and modeled in 


- large planes with much conscientious effort. 


DEER WITH FOOT RAISED. 
Height, 7 inches; length. 734 inches. 


Antique Green Patina. 
Signed on Base, ‘“Barye.”’ 


500 
OWL, WINGS EXTENDED, WITH RAT. 
Height, 3 inches; spread of Wings, 65-16 inches. 
Golden Brown Patina. 


Signed on the Base, “Barye,” and “HM, Barbédienne, Fondeur.” 


[S81] 


501 
WARRIOR OF THE CAUCASUS. (Modern) 
Height, 744 inches; length, 6% inches. 


Silver Bronze Patina. 
Signed on the Base, “Barye.” 


502 


DROMEDARY MOUNTED BY AN ARAB. (Modern) 


Height, 11 inches; length, 7% inches. 
Silver Bronze Patina. 
Signed on the Base, ‘“‘Barye.” 


503 . 
HUNTSMAN. COSTUME OF LOUIS XV. (1833) (Modern) 
Height, 71% inches; length, 7144 inches. 


Silver Bronze Patina. 
Signed on the Base, ‘‘Barye,” and “F. Barbédienne, Fondeur.” 


504 
STAG WALKING. 


Height, 734 inches; length, 8% inches. 
Antique Brown Patina. 
Signed on the Base, “Barye.” 


505 
RABBIT ON THE ALERT. (1828) 
Height, 13%, inches; length, 244 inches. 


Dark Brown Patina. 
Signed on the Base, “Barye.” 


506 
SEATED CAT. (1824) 


Height, 3°34 inches; length, 2%4 inches. 
Antique Green Patina. 
Signed on the Base, “Barye.” 


507 
FAUN LYING DOWN. (1840) 
Height, 134 inches; length, 6 inches. 
Dark Brown and Green Patina. 
Signed on the Base, “Barye.”’ 


[82] 


508 
SETTER. (1824) 


Height, 414 inches; length, 6% inches. 
Antique Brown and Green Patina. 
Signed on the Base, “Barye.” 


50 
STARTLED RABBIT. (1828) 4 


Height, 134 inches; length, 214 inches. 
Antique Green Patina. 
Signed on the Base, ‘‘Barye.” 


510 
SPANIEL AND SWAN. (1824) 
Height, 5144 inches; length, 656 inches. 


Dark Green Patina. 
Signed on the Base, “Barye.”’ 


511 
BABOON’S HEAD. 


Height, 234 inches; length, 1%, inches. 


Golden Brown Patina. 
Signed on the Base, “Barye,” and “F, Barbédienne, Fondeur.” 


512 
RABBIT. (1828) 


Height, 134 inches; length, 3 inches. 


Golden Brown Patina. 
Signed on the Base, “Barye.’”’ 


513 
POINTER. (1824) 


Height, 314 inches; length, 65 inches. 


Silver Bronze Patina with Antique Gold Base. 
Signed on the Base, ‘‘Barye.” 


514 
DROMEDARY (Japanese Bronze). Idzmu 


Height, 6 inches; length, 3%4 inches. 
Dark Brown Patina. 


515 
KID LYING DOWN. 


Height, 1144 inches; length, 2 inches. 
Golden Brown Patina. 


[83] 


516 
PARRAKEET SEATED ON A TREE. eee 
Height, 7 inches; ;, length, 5% ioe es ‘ 


Golden Brown Patina. 
Signed on the Base, “Barye.” 


517 
RECLINING DOE. (1840) 


Height, 1% inches; length, 3% inches. 
Dark Golden ‘Brown Patina. 
Signed on the Base, “Barye.” 


518 
GOLDEN CHINESE PHEASANT. 


Height, 4% inches; length, 8% inches. 
Brown Patina. oe 
Signed on the Base, “Barye.” | 


aa 


; 519.24 RT. 
FAUN LYING DOWN. (1840) ae 


Height, 1% inches; length, 6 inches. _ 
Mottled Brown and Green Patina. 
Signed on the base, “Barye.” 


520 
FAUN LYING DOWN. (1840) 


Height, 3% inches; length, 6 inches. 
Mottled Brown and Green Patina. 
Signed on the Base, “Barye.” - 


521 
KING CHARLES SPANIEL. (1824) 


Height, 2% inches; length, 544 inches. 
Golden Brown Paling,” :’ tee 
Signed on the Base, “Barye.” 


522-> 

RABBIT ON THE ALERT. (18298) : 
Height, 1% inches; length, 3 inches. 

' ~Brown Patina. eer esas et es 

Signed on the Base, “Barye.” ate 


[84] 


ee ae 


523 

POINTER AND SETTER WITH PHEASANTS. (1824) 
Height, 4%, inches: length, 934 inches. 
Golden Brown Patina. 
Signed on the Base, “Barye.” 

524 

CANDELABRA WITH PHEASANT. 
Height, 734 inches; length, 8 inches. 


Brown Patina. 
Signed on the Base, “Barye.”’ 


525 
ORNAMENT WITH DECORATION OF CHILDREN. 
Height, 4 inches; length, 1% inches. 
Dark Golden Brown Patina. 


526 
CANDELSTICK (Greek) 


Height, 101%, inches; diameter, 414 inches. 
Dark Brown Patina. 
Signed on the Base, “Barye.” 


527 
CARD RECEIVER. 
Height, 714 inches; diameter, 714 inches. 


Dark Brown Patina. 
Signed on the Base, ‘“Barye.” 


528 
TORTOISE. (1828) 
Height, 34 inch; length, 114 inches. 


Brown Patina. 
Signed on the Base, ‘“‘Barye.”’ 


529 
CANDELABRA. 


Height, 10% inches ; length, 414 inches. 
A Second Example of No. 524. 


A second example of No. 526. 
[85] 


(Modern) 


530 
CANDELABRA WITH PHEASANT. 


Height, 784 inches; length, 8 inches. 
Dark Golden Brown Patina. 


A second example of No. 524. 


531 
POINTER AND SETTER WITH QUAILS. (1824) (Modern) 
Height, 434 inches; length, 9%4 inches. 


Golden Brown Patina. — 
Signed on the Base, “Barye.” 


CASE OF SMALL BRONZES—Eastr Sipe. 


532 
CROUCHING RABBIT WITH YOUNG RABBIT. (1828) 
Height, 1% inches; length, 4%4 inches. | 
Antique Golden Brown Patina. 
533 


ELK STANDING (Aluminium). (Modern) 
Height, 6 inches; length, 714 inches. 
Signed on the Base, “Barye.” 


534 
POINTER STOPPING. (1824) 
Height, 2% inches; length, 334 inches. 


Golden Brown Patina. 
Signed on the Base, ‘“Barye.” 


535 
SEATED PANTHER. 


Height, 284 inches; length, 414 inches. 


Antique Brown Patina. 
Signed on the Base, “Barye.” 


536 
HERCULES CARRYING BOAR. (Modern) 


Height, 5 inches; length, 234 inches. 
Silver Bronze Patina. 


[86] 


ee ae ee 


537 
POINTER. (1824) (Modern) 


Height, 314 inches; length, 6% inches. 


Golden Brown Patina. 
Signed on the Base, “‘Darye.” 


538 
AT THE SPRING. A. Moreau-Vauthier. 
Sketch in Terra Cotta. 
Height, 544 inches; length, 614 inches. 
. 539 
DIANA. A. Moreau=Vauthier. 
Statuette in Terra Cotta. 
Height, 11% inches; length, 8%¢ inches. 
540 


ROMAN JESTER. (Modern) 


Height, 9 inches; length, 444 inches. 
Antique Green Patina. 


Mr. Lucas has placed this note: “Original by Barye not 
signed.” 


541 
DECORATED DISH WITH HANDLES—WHEAT DESIGN. 
Height, 214 inches; length, 25¢ inches. 
Signed on the Base, “F. Barbédienne and Cie. 
542 
DEER OF JAVA. 
Height, 5% inches; length, 614 inches. 


Antique Brown Patina. 
Signed on the Base, “Barye.” 


A numbered proof (No. 15). 


543 
BOAR. (Modern) 


Height, 3144 inches; length, 3%4 inches. 
Dark Golden Brown Patina. 
Signed on the Base, “Barye.” 


[87] 


544 = 
CROUCHING RABBIT WITH EARS PRICKED 


(On black marble base, suitable for janeoee 
Height, 21% inches; length, 44 PaCiee, 
Golden Brown Patina. 


- 


545 


PARRAKEET SEATED ON A TREE. (Modern) 
‘Height, 7 inches; length, 5144 inches. 


Golden Brown Patina. 
Signed on the Base, “Barye.” 


A second example of No. 516. 


ees 546 
SPANIEL. (1824) (Modern) 


Height, 494 inches; length, 64% inches. 


Golden Brown Patina. — 
Signed on the Base, “Barye.” 


; 547: 4: Te 
CHAMOIS ALARMED. 


Height, 2% inches; length, 4 inches. 
Antique Brown Patina. 


DASCHUND. (Plaster Model) . 
Height, 7% inches; length, 1136 inches. 


ROMAN JESTER. (Modern) 


Height, 614 inches; length, 3144 inches. 
Antique Brown Patina. 


A second example of No. 540. 


550 
ETHIOPIAN GAZELLE. (1837) | 
Height, 3% inches; length, 4% inches. 5 
= Dark Brown Fauna a oe 
Signed on the Base, Bs ee 


[88] 


551 
SPANIEL AND RABBIT. (1824) 
Height, 41%4 inches; length, 814 inches. 


Golden Brown Patina. 
Signed on the Base, “Barye.” 


552 
STORK AND SERPENT. 


Height, 5144 inches; length, 114 inches. 


Golden Brown Patina. 
Signed on the Base, “Barye,’ and “F. Barbédienne, Fondeur.’’ 


553 
MUDESSE. 


Height, 91% inches; length, 914 inches. 


554 
CANDELABRA WITH PHEASANT. 
Height, 734 inches; length, 8 inches. 


Brown Patina. 
Signed on the Base, “Barye.” 


A third example of No. 524. 


555 
TURTLE. (1828) (Reduction) 
Height, 114 inches; length, 214 inches. 


Antique Brown and Green Patina. 
Stamped on the Base, “Barye.” 


A numbered proof (No. 3). 


556 
PERFUME BURNER (Ornamented with Chimeras). 


Height, 414 inches; length, 2%, inches. 
Brown Patina. 


[89] 


557 
CARD RECEIVER. 


Height, 74% inches; length, 714 inches. 


Dark Brown Patina. 
Signed on the Base, ‘“Barye.”’ 


558 


Height, 134 inches; length, 5% inches. 
Dark Golden Brown Patina. 


LIZARD. 


559 
CANDELABRA WITH PHEASANT. 


Height, 734 inches; length, 8 inches. 
Signed on the Base, “Barye.” 


Fourth example of No. 524. 


560 
POINTER HUNTING PHEASANT. (1824) (Modern) 
Height, 41%4 inches; length, 81% inches. 


Golden Brown atina. 
Signed on the Base, ‘‘Barye.’’ 


561 
STATUETTE OF MOSES. 
Height, 121%, inches; length, 5% inches. 
The Tables of the Law carry the inscription, “A Mr. Cou- 
ronnee.” 


EAST WALL. 


562 
SLEEPING JAGUAR. 


Height, 314 inches; length, 1214 inches. 


Mottled Green and Brown Patina. 
Signed on the Base, “Barye.” 


A second example of No. 402. 
[90] 


ee a 


563 
JUNO OF THE NINE-FIGURE CANDELABRUM. (1840) 


Height, 12 inches; length, 5%4. inches. 
Antique Green Patina. 
Signed on the Base, “Barye.” 


A second example of No. 431. 


564 
AFRICAN ELEPHANT. 
Height, 544 inches; length, 6%4 inches. 
Dark Brown Patina. 
Signed on the Base, “Barye.” 


565 
WALKING LION. (1836) 


Height, 94% inches; length, 1514 inches. 
A Most Remarkable Antique Green and Brown Patina with Rich Reds 
Brought Out by Rubbing. 
Signed on the Base, “Barye.” 


A most interesting example of Barye’s close observation of 
animals as he had studied them in the cages of the Jardin des 
Plantes. Authorities on the lion state that when traveling in 
_ the wilds he carries his head somewhat after the fashion of the 
sketches shown in Nos. 612 and 614. When pacing back and 
forth in captivity, however, the head is carried higher against 
the bars. Barye has shown that lifted head and twitching tail 
in most masterly fashion, as this lion, in challenge, advances 
toward an enemy. (See No. 408 for an example of this subject 
used as a fire fender. ) 


566 
TURKISH HORSE (Half-Blood, Left Foot Raised). 
Height, 1134 inches; length, 9% inches. 


Mottled Brown and Green Patina. 
Signed on the Base, “Barye.” 


Mr. Lucas has marked this example No. 2. 


[91] 


567 
CENTAUR AND LAPITH. (1846) 
Height, 13% inches; length, 11% inches. 


Antique Brown and Green Patina. 
Signed on the Base, ‘“Barye.” 


Barye commenced this example in 1846, completed it in 1848, 


and in 1850, the time of his reappearance in the Salon, exhib- a 


ited it under the title “Theseus Slaying the Centaur Bianor.” 


It was purchased by the Minister of the Interior, cast later in 4 


bronze and sent to the Museum at Le Puy in 1850. Mr. Lucas 
exhibited this bronze in the great Exhibition of the Works of 
Barye in 1889 under the title “Theseus Slaying the Centaur 
Bianor, Sketch.” This group was most successfully modified 
and refined as. Barye progressed in his study, so altering his 
sketch that he finally advanced from the attack to the actual 
crisis of the combat. As is the case in “Theseus Slaying the 
Minotaur” (414), the Sun God has already overcome the Man- 
Horse. The hoofs stumble, the mouth is wide in death, and 
Theseus’ hand on his throat appears to have almost done its 
work and to make the blow of the club unnecessary. 


568 
PYTHON CRUSHING A CROCODILE. (1840) 
Height, 614 inches; length, 1514 inches. 
Golden Brown Patina. 
Signed on the Base, “A. L. Barye,’ and “IF. Barbédienne, Fondeur.” 
569 
TURKISH HORSE (Half-Blood, Right Foot Raised). 
Height, 11%, inches; length, 91%4 inches. 


Mottled Brown and Green Patina. 
Signed on the Base, ‘“Barye.” 


A companion piece of No. 566. 
570 
WALKING TIGER. 
Height, 814 inches; length, 15144 inches. 
Antique Green and Brown Patina. 
Signed on the Base, ‘‘Barye.’” 


[92] 


A companion piece to the remarkable example, the “Walking 
Lion,” No. 565. The technique of the sculptor is shown in most 
interesting manner by the shallow incised lines which serve to 
indicate the color on the animal’s coat. See No. 422 for an 
example of this subject used on a fire fender. 


571 
~ELEPHANT OF ASIA. (1833) 


Height, 5% inches; length, 6% inches. 
Ruddy Brown Patina. 
Signed on the Base, ‘“Barye.”’ 


572 
BRONZE STUDY OF ROBERT MACAIRE - Honore Daumier 


Height, 1744 inches; length, 744 inches. 
Brown Patina, 
Signed on the Base, ‘‘Daumier.” 


For examples of this artist among the pictures in the large 
Gallery see Nos. 65, 79, 148 and 187; and for his portrait see 
No. 471. 


573 
AUROCHS ATTACKED BY A SERPENT. (Modern) 
Height, 105g inches; length, 14% inches. 


Antique Green and Brown Patina. 
Signed on the Base, ‘“Barye,” and “F. Barbédienne. Fondeur.” 


ON A PEDESTAL BETWEEN THE CASES. 


574 
ROGER BEARING OFF ANGELICA ON THE HIPPOGRIFF. Barye. 


Height, 2014 inches; length over all, 26%, inches. 
Mottled Antique Green Patina. 
Signed on the Base, “Barye.” 


This composition was the centerpiece of a series, including 
the two Nine-Figure Candelabra (see Nos. 431, 485 and 563), 
which Barye executed for the Duke of Montpensier, the young- 
est son of Louis Philippe. While these pieces were never pub- 
licly exhibited by the sculptor, yet replicas were later placed on 
sale. 


[93] 


The Hippogriff is represented as a winged horse, or, aS one 
author has described it, a “Horse-Bird,’ borne upward on a 
spray cast by a dolphin as it coils itself in a spiral above the 
waves. Firmly seated on the broad back of the winged horse is 
the mailed figure of Roger, the Paladin, firmly but tenderly 
holding Angelica, whom he has rescued from the marine mon- 
ster Ore by means of his magic shield. The steadying hand of 
Roger on the back of Angelica and the support which he offers 
beneath her arm are cited as remarkable examples of modeling 
and reflecting much tenderness and protection. Both figures 
look backward at the marine monster turned into stone by the 
magic wonder-working shield. The whirling spray, the hard- 
riding attitude of Roger, the direction of the figure of Angelica 
and the beat of the great soaring wings aid in the impression 
of a tremendous rush through the air. Mr. DeKay, the author of 
“Life and Works of Antoine Louis Barye,” says that idea of the 
Hippogriff arose slowly in Barye’s mind, and that the progress 
of this composition could be traced in a memorandum book 
which Mr. Lucas (in 1889) had in his possession. 


575 
CROCODILE DEVOURING AN ANTELOPE. 
Height, 614 inches; length, 16% inches. 


Antique Green Patina. 
Signed on the Base, “Barye.” 


Mr. Lucas had carefully pasted a note on this example stat- 
ing that it was a proof and given to him by the sculptor for his 
Collection. 


576 
DROMEDARY OF EGYPT HARNESSED. (Modern) 
Height, 10%4 inches; length, 954 inches. 


Golden Brown Patina. 
Signed on the Base, “Barye.” 


577 
BUFFALO OF EGYPT. (Modern) 
Height, 6 inches; length, 9 inches. 
Golden Brown Patina. 
Signed on the Base, “Barye.’” 


[94] 


1 ae ee 


578 
LION STRIKING AT SERPENT. (1832) 
Height, 5144 inches; length, 6%¢ inches. 


Dark Antique Brown Patina. 
Signed on the Base, “Barye.” 


Another example of the same subject shown in the water- 
color study, “Lion Bopping Before a Snake,” and Nos. 405 
and 489. 


579 
PANTHER OF TUNIS RECLINING. (1840) 
Height, 5% inches; length, 914 inches. 


Antique Brown and Green Patina. 
Signed on the Base, “Barye.” 


580 
GASTON de FOIX. (1833) (Modern) 
Height, 183% inches; length, 11 inches. 


Antique Green Patina. 
Signed on the Base, “Barye.” 


581 
TWO YOUNG BEARS TUSSLING. (1833) (Modern) 


Lissa 


Height, 814 inches; length, 514 inches. 
Golden Brown Patina. 
Signed on the Base, “Barye,” and ‘“F. Barbédienne, Fondeur.” 


582 


ELEPHANT OF ASIA, RUNNING. (1833) 


Height, 5%4 inches; length, 10% inches. 
Dark Antique Brown Patina. 
Signed on the Base, “Barye.” 


This example should be compared with No. 493. 


[95] 


/ 583 
SEATED LION. (1847) (Modern) i 
Height, 14 inches; length, 11% inches. | 


Golden Brown Patina. — 
Signed on the Base, “Barye.” 


A companion piece to No. 429. 
584 

WOUNDED BOAR. 
Height, 65 inches; length, 9% inches. 


Brown Patina. 
Signed on the Base, “Barye.” 


A third example of No. 428. 


585 
ELEPHANT OF SENEGAL, RUNNING. (Modern) 
Height, 514 inches; length, 7% inches. 


Golden Brown Patina. 
Signed on the Base, Biase and “F. Barbédienne 


586, 
SEATED LION. (1841) 


Height, 7 inches; length, 534 inches. 

Dark Antique Brown Patina. — 

Signed on the Base, “A. L. Barye.” 

pena Tee 587 ee 

APE RIDING A GNU. (1842) (Modern) 
Height, 9 inches; length, 11 inches. 


Dark Brown and Green Patina. 
Signed on the Base, ‘“Barye.” 


A second example of No. 484. 
S88 
EAGLE ON ROCK WITH HERON. es 
Height, 6%4 inches; spread of wings, 3 eet 
Dark Brown and Green Patina. 
Signed on the Base, “A. L. Barye.” 
See notes under No. 425. 


[96] 


589 
PYTHON SWALLOWING A DOE. (1840) (Modern) 


Height, 34% inches; length, 1234 inches. 
Golden Brown Patina. 
Rtenad on the Base, “Barye, ” and “EF. Barbédienne, Fondeur.” 


590 
PANTHER OF TUNIS, RECLINING. (1840) (Reduction of No. 579. 
by Height, 38% inches; length, 7 inches. . 


Antique Green and Brown Patina. 
Signed on the Base, “Barye.”’ 


ees ;+. 59 
BASSET, SITTING. (Modern) 
Height, 5144 inches; length, 1014 inches. 


Golden Brown Patina. 
Signed on the Base, “Barye,” and “F. Barbédienne, Fondeur.” 


“A companion piece to No. 430. 


592 


ELEPHANT WITH INDIAN MOUNTED, CRUSHING A TIGER. 
- (1837) 


Height, 10% inches; length, 12 inches. 


Antique Green Patina. 
Signed on the Base, “‘Barye.” 


593° 
PYTHON CRUSHING AFRICAN HORSEMAN. 
Height, 8% inches; length, 11% inches. 


Dark Antique Brown Patina. 
Signed on the Base, “Barye.” 


PAINTINGS AND SKETCHES. 


a tee _ ex . 594. 25. 
SLEEPING ELEPHANT. A. L. Barye. 
Sketch in Charcoal and Chalk. 

544 x 8% 


[97] 


595 


Water Color. iM che 
This Subject Was Executed in Bronze for the Principal Group 0: = 
Table Piece of the Duke of Orleans, and is now a 
in the Walters Gallery. : 
17% x 24% 


596 


(1895) 
Reproduced for This Catalogue. 


597 
PYTHON COILED IN LIMBS OF DEAD TREE. 


Water Color. 
11%x 18% 


598 
BEAR ATTACKING OX. 


Pen Drawing, with Color. 
61% x 9% 


599 
DEER ON MOUNTAINSIDE. 


Oil. 
43, x 7. 


600 
ELEPHANT AT DRINKING-PLACE. 


Water Color. 
114% x 14% 


601 


Oil. 
5% x 8 


BEAR WALKING. 


602 


HALL IN THE BARYE EXPOSITION OF 18809. 


~ 


Oil. 
231%, x 29% 
[98] 


In 1889 Mr. Lucas displayed the most important of his 
bronzes and sketches at the great Exposition of the Works of 
Barye held at the Ecole des Beaux-Arts in Paris. At that time 
there were gathered together the finest examples of Barye’s 
works belonging to the most important French collections, in- 
cluding those of Barbebienne, Binder, Count Doria, Bonnat, 
Lutz, and many other lovers of the great master’s work. 

To this display Mr. Lucas was invited to send Nos. 401, 402, 
405, 408, 411, 413, 414, 415, 417, 418, 410, 421, 422, 423, 425, 
431, 432, 430, 437, 439, 457, 479, 494, 495, 500, 504, 506, 512, 
513, 517, 519, 522, 524, 520, 527, 520, 540, 541, 542, 544, 552, 
555, 557; 505, 506, 567, 569, 570, 571, 575, 579, 588, 592 and 
593: 

The sketches which he had on exhibition on the same occa- 


sion are those numbered 595, 597, 600, 601, 604, 605, 606, 607, 
608, 609, 610, 611, 614, the photograph numbered 596, and 
several examples from his collection of prints and engravings 
to further illustrate the work of the great master. 

The status of the Barye bronzes in the George A. Lucas Col- 
lection is best determined by this invitation to send so many of 
his examples to this display of masterpieces, for it was the 
announced purpose of the Committee having this exhibition in 
charge to present to the public only the finest bronzes fash- 
ioned by Barye himself or cast under his direction. Owing to 
the impossibility, however, of thus showing the master’s com- 
plete work, it became necessary in some cases to invite the 
finest proofs known to exist of those examples cast since his 
death, and especially those cast from models left in his studio, 
and this accounts for the display of certain of Mr. Lucas’ 
“modern” examples. The prominence of this Collection in 
the Exhibition and the large number of examples which were 
placed on view should be an answer to those who wish to 
know how this Collection ranked among the great ones across 
the water. 


[99] 


PYTHON KILLING DEER. 


Oil. | 
10 x 138% 

604 
LEOPARD SITTING. 
| Dlbees 
5% x 7% 
605° 

BOA COILED IN TREE. 


Water Color. 
54% x 8% 


606 
DEER IN THE FOREST OF FONTAINEBLEAU. 
Wass fs Ae, 
9% x 12% .; 
607 
BIRD OF PREY ON THE BRANCH OF A TREE. 


Water Color. 
384 x 9% 


608 
CONGUAR ATTACKING DEER. 


Oil. 
11 x 138% 


609 
FOREST OF FONTAINEBLEAU. 
| Oil. 
8% x 12% 
610 
TIGER STALKING PREY. é . 


Water Color. 
Tg Sa 


[100] 


3 
ore + : : 61r 
a eee 
ON STOPPING BEFORE A SNAKE. 
| a ee Water Color. 
eee. | 7x 11y 


<3) a 612 
“TIGER WALKING IN DESERT. 


[3 SS ae . Water Color. 
‘ 10%, x 14% 
Baie; 613 

IR OF RHINOCEROS. 5 
a w Water Color, 

ad i a 5% x 8% 

cae 614 


- WALKING TIGER. 
oe ; Water Color. 
615 


IGER ROLLING ON HIS BACK. 


Water Color. 
9% x 11% 


[101] 


A. L. Barye. 


A. L. Barye. 


A. L. Barye. 


A. L. Barye. 


A. L. Barye. 


—— 
— 


OB a wees: 


The examples of Pottery and Porcelain which form a part 
of the George A. Lucas Collection are displayed in the long 
crystal case on the Terrace Gallery of the Entrance Court. 
The Vases are numbered from left to right, reading in a simple 
system to include the upper and lower shelves, and so ar- 
ranged in sequence that the visitor may easily identify the ex- 
amples by reading through the case. The Maryland Institute 
would acknowledge, with much appreciation, the courtesy of 
Mr. Faris C. Pitt, who has kindly identified the examples of 
Ceramics and furnished the following notes: 


650 
BLUE AND WHITE HANGING JAR. 


Height, 6% inches. 

Two Panels Illustrating Legendary Scenes. 
Emblems of the “Eight Precious Things’ Surrounding Rim. 
Mark in a Double Ring. 

Period, K’ang-Hsi, (1662-1722.) 


651 


ONE OF A PAIR OF TALL CYLINDRICAL : 
SOUFFLEE MADE VASES. 
(See No. 699.) 


Height, 18% inches. 
Decorated with Traces of Gilt Ornamentation. 
Period of Ch’ien-Lung, (1736-1795.) 


652 


ONE OF A PAIR OF BLUE AND WHITE OVOID COVERED JARS. | 
(See No. 696.) 
Height, 12 inches. 
Four Oblong Oval Panels with Decorations of Fans, ete. 
Leaf Mark at Bottom. 
Period of K’ang-Hsi, (1662-1722.) 


[102] 


653 


ONE OF A PAIR OF TALL MOHAMMEDAN 
BLUE AND WHITE CYLINDRICAL VASES. 
(See No. 697.) 


Height, 1314 inches. 
Floral and Intricate Scroll Decoration. 
French Mountings in “Ormolu.” 
Period, K’ang-Hsi, (1662-1722. ) 


654 
SMALL TRIPLE GOURD-SHAPED BLUE AND WHITE BOTTLE. 


Height, 9 inches. 
Finest Quality. 
Decorated with Landscape and the “Hight Precious Things.” 
Period of Yung-Chéng, (1723-1735.) 


655 
FINE CELADON JAR. 


Height, 12 inches. 
Greenish Tint, Boldly Crackled, with Color of Remarkable 
Depth and Uniformity. 
Two Dragon Handles. 
Period, Chia-Ching, (1522-1566. ) 


656 
BLUE AND WHITE FLATTENED QUADRILATERAL VASE. 


Height, 1514 inches. 

Yorm of an Ancient Chinese Bronze Vase. 
Decoration, Pale Cobalt in Archaic Design. 
Hlephant and Ring Handles. 
Period, K’ang-Hsi, (1662-1722.) 


657 


ONE OF A PAIR OF BLUE AND WHITE CIRCULAR 
FLAT WATER RECEPTACLES, WITH BRONZE HANDLES. 
(See No. 694.) 


Height, 25g inches; diameter, 91% inches. 
Landscape Decoration Around the Sides and Interior of Each Piece. 
Very Fine Quality. 
These Receptacles Seldom Occur in Pairs. 
Period, K’ang-Hsi, (1662-1722. ) 


[103] 


658 


ONE OF FOUR OVIFORM VASES, WITH 
ELEPHANT HEAD ‘HANDLES. 
(See Nos. 663, 684 and 690.) 


Height, 15 inches. 
Decorated with Palmettes, Rosettes, and Madallions. 
Color, White and Yellow, on Blue Gray. 
Rich Brocade Decoration with Sceptre Heads on the Neck of each Vase. 
Period, Ch’ien-Lung, (1736-1795. ) 


Notr.—These four vases have an inscription in French pasted upon the bottom 
of each vase. The following is a free translation : ‘‘These four vases were ordered 
by a Mandarin of the first class, who presented them to Prince Li. These yases 
are esteemed of great value by the Chinese themselves.”’ 


659 
BLUE AND WHITE GALLIPOT VASE. 


Height, 10 inches. 
Scenes with Landscape and River with Boatmen. 
Period, Ch’ien-Lung, (1736-1795. ) 


660 


SMALL WHITE CABINET VASE. 


Height, 6°34 inches. 
Decoration in Enamels (“famille Rose’’) of a Lady and Stork. 
Period, Ch’ien-Lung, (1736-1795. ) 


661 


ONE OF A PAIR OF BLUE AND WHITE OVOID JARS. 
(See No. 687. y 


Height, 8 inches. 
House Interior Decoration with Figures. 
Band of Sceptre Heads at Neck with Mark of C’éng-Hua, (1465-87). 
False Mark, Probably of K’ang-Hsi, (1662-1722.) _ 


| 662 


ONE OF A PAIR OF TALL CLUB-SHAPED CYLINDRICAL VASES. 
(See No. 689.) — 


Height, 18 inches. 
Powder Blue, with Decoration in Gold and Colored Enamels of Person- 
ages in a Landscape Watching the Rising Moon. 
The Neck Ornamented with the Signs of Longevity sais with the 
“Hight Precious Things.” 
Period, K’ang-Hsi, (1662-1722. ) 


[104] 


663 


ONE OF FOUR OVIFORM VASES, WITH 
Gs ELEPHANT HEAD HANDLES. 
(See Nos. 658, 684 and 690.) 


Height, 15 inches. 
Decorated with Palmetes, Rosettes and Medallions. 
Color, White and Yellow on Green. 
Rich Brocade Decoration with Sceptre Heads on the Neck of each Vase. 
Period, Ch’ien-Lung, (1736-1795. ) 


: 664 
POWDER BLUE BOTTLE. 


Height, 8 inches. 
Period, Ch’ien-Lung, (1736-1795. ) 


665 
FINE BLUE AND WHITE BOTTLE-SHAPED VASE. 
Height, 714 inches. 
Very Fine Quality. 


Scenic Decoration in Transparent Cobalt Blue. 
Period, Yung-Chéng, (1725-1735. ) 


666 


ONE OF A PAIR OF ANTIQUE JAPANESE (Imari) 
GALLIPOT VASES. (See No. 688.) 


Height, 91% inches. 
Floral Decoration in Blue Underglaze and Gold and Red Overglaze 
Enamels. 
Period, 17th Century. 
667 
SMALL APPLE-GREEN CRACKLE BOTTLE-SHAPED VASE. 


Height, 514 inches. 


668 
TALL CYLINDRICAL VASE, WITH COVER. 
Height, 12% inches. 
Pale Mohammedan Blue. 
Floral and Scroll Decoration. 
Probably Period, K’ang-Hsi, (1662-1722.) 


[105] 


669 


Things” in Panels and Ean 
Mark in Double Ring. 
Period, K’ang-Hsi, (1662-1722.) 


670 


Height, 11% inches. 
Pale Sang-de-Boeuf. 
Period, K’ang-Hsi, (1662-1722.) 


671 


OLD JAPANESE (Imari) FOUR-SIDED TALL TEAPOT, _ 
WITHOU 


Height, 10144 inches. 
Period, 17th Century. 


672 


OLD JAPANESE (Imari) BOTTLE-SHAPED VASE. 


Height, 11 inches. 
Three circular medallions with floral decoration in ee a 
all-over pattern of interlacing scrolls with flying bake 
blue. i 
Gold and Red Decoration on Neck. © 
Period, 17th Century. “- 


| 673 ee: 
SANG-DE-BOEUF VASE, WITH FLARING LIP. 
Height, 111% inches. 
Very Uniform in Color. | 
Deep and Fine Glaze. | 
Period, K’ang-Hsi, (1662-1722.) 


[106] 


674 
BLUE AND WHITE COVERED VASE. 


Height, 914 inches. 
Decorated ES Garden Scenes, Women and Children at Play. 
Brass Mounts of the 18th Century. 
Marked on the Base. 
Period, Chia-Ch’ing, (1796-1820.) 


675 
SANG-DE-BOEUF GALLIPOT VASE. 


Height, 734 inches. 
Fine Quality, Uniform Color. 
Period, K’ang-Hsi, (1662-1722.) 


676 
TALL JAPANESE (Imari) BOTTLE-SHAPED VASE. 


Height, 11144 inches. 
Floral Decoration in Gold and Iron Red and Green Hnamels. 
Scroll Decoration at Neck. 
Period, 17th Century. 


677 
TALL POWDER BLUE BALUSTER VASE. 


Height, 1734 inches. 
Richly Decorated with Gold. Flowers in Panels and Chinese Text 
in Medallions. 
Border of the ‘Eight Precious Things” at the Neck. 
Period, Lung-Chéng, (1723-1735. ) 


678 


QUADRILATERAL HANGING VASE, WITH HANDLES AT 
SIDES FOR SUSPENSION. 


Height, 11% inches. 
Flattened Sides with ‘“flambé” decoration of Sang-de-Beeuf, 
Gray and Blue. 
Period, K’ang-Hsi, (1662-1722.) 


[107] 


| 679 ; 
SMALL BALUSTER MOHAMMEDAN BLUE AND ° Bs: BVA 


Height, 814 inches. 

_ Aster and Floral Scroll Decoration. | es 

Fret Decoration and Sceptre Heads at Neck. ber 
Mark in Double Ring. 

Period, K’ang-Hsi, (1662-1722.) 


680 


PILGRIM BOTTLE-SHAPED Mae WITH. FLATTENED ‘ 
SIDES AND noe 


Height, 12 inches. 
Figure and Animal Decoration in Colored Enamels 
Period, Ch’ien-Lung, (1736-1795. ) 


681 te 
BLUE AND WHITE VASE. ‘ates 


: Height, 814 inches.’ 

Newration of “One Hundred Antiques” and Flowers 
Floral Decoration at Neck Bordered with Hee. che 
Period, K’ang-Hsi, (1662-1722.) Fra) 


682 


BLUE AND WHITE GLOBULAR VASE, WITH 
ELONGATED BULBO Ss 


; Height, 1414 inches.) Pe) yas An 

At ie Base a Decoration of an Emperor and His sie in ‘Tra ns 
Cobalt Blue. — 

Period: K’ang-Hsi, (1662-1772. Ds 


683 


* -“One Hundred Aree 2 ce te 
Semi-Soft Paste. i Nile 3 
Period, K’ang-Hsi, (en ts RAY 


[108] 


684 


ONE OF FOUR VASES WITH ELEPHANT HEAD HANDLES. ~ 
(See Nos. 658, 663 and 690.) 


Height, 1514 inches. 
Enameled and Richly Decorated with Flowers and Birds in 
Natural Colors. 
The Neck of each Vase is Decorated in a Rich Brocade Pattern with 
Borders of Sceptre Heads. 
Period, Ch’ien-Lung, (1736-1795. ) 


685 
SMALL POWDER BLUE GALLIPOT. 3 
Height, 5% inches. 
Traces of Gold in the Decoration. 
Period, Ch’ien-Lung, (1736-1795. ) 
686 


SMALL MOHAMMEDAN BLUE AND WHITE 
BOTTLE-SHAPED VASE. 


Height, 714 inches. 
Decorated with Floriated Scroll Pattern Covering the Greater Part 
of the Vase and Neck. 
Period, Ch’ien-Lung, (1736-1795. ) 
687 


ONE OF A PAIR OF BLUE AND WHITE OVOID JARS. 
(See No. 661.) 


Height, 8 inches. 


688 


ONE OF A PAIR OF ANTIQUE JAPANESE (Imari) 
GALLIPOT VASES. (See No. 666.) 


Height, 914 inches. 


689 


‘ONE OF A PAIR OF TALL CLUB-SHAPED 
CYLINDRICAL VASES. (See No. 662.) 


Height, 18 inches 


[109] 


690 


ONE OF FOUR OVIFORM VASES, WITH ELEPHANT 
HEAD HANDLES. (See Nos. 658, 663 and 684.) 


Height, 15 inches. 
Enameled and Richly Decorated withh Flowers and 
Birds in National Colors. 
The Neck of Each Vase is Decorated in Rich Brocade Pattern, 
with Borders of Sceptre Heads. 
Period, Ch’ien-Lung, (1736-1795. ) 


691 
QUADRILATERAL CELADON VASE. 
Height, 1014 inches. 
Four Openings Rising from the Body of the Vase to Contain 


Single Flowers. 
Period, Square Mark of Ch’ien-Lung, (1736-1795. ) 


692 
BLUE AND WHITE OVOID COVERED JAR. 
Height, 12%4 inches. 
Same Character of Decoration as Nos. 652 and 696. 


Fang-Shéng Mark at Bottom within Double Ring. 
Period, K’ang-Hsi, (1662-1722.) 


693 
CYLINDRICAL VASE, WITH FLARING MOUTH. 
Height, 834 inches. 
Invested with a light yellow glaze, leaving in the white, four oblong 
panels with decoration of flowers and the “One Hundred An- 


tiques.”’ 
Period, Ch’ien-Lung, (1736-1795. ) 


694 


ONE OF A PAIR OF BLUE AND WHITE CIRCULAR FLAT 
WATER RECEPTACLES, WITH BRONZE HANDLES. 
(See No. 657.) 


Height, 25g inches; diameter, 914 inches. 


[110] 


695 
QUADRILATERAL TURQUOIS VASE. 
Height, 11 inches. 


Archaic Raised Decoration. 
Period, Ch’ien-Lung, (1736-1795. ) 


696 


ONE OF A PAIR OF BLUE AND WHITE OVOID COVERED JARS. 
(See No. 652.) 


Height, 12 inches. 


697 


ONE OF A PAIR OF TALL MOHAMMEDAN 
BLUE AND WHITE CYLINDRICAL VASES. 
(See No. 653.) 


Height, 138% inches. 


698 


ONE OF A PAIR OF BLUE AND WHITE OVOID JARS. 
(See No. 669.) 


Height, 8% inches. 


699 


ONE OF A PAIR OF TALL CYLINDRICAL 


POWDER-BLUE SOUFFLEE VASES. 
(See No. 651.) 


Height, 181% inches. 


fli 


THE MARYLAND. ING 
TurouGH Its BoArD oF MANAGERS, 


accepts with gratitude the trusteeship for the people of our 
city and State and for lovers and students of art the magnifi- 
cent Collection generously bequeathed to it by 


GEORGE A. LUCAS. 


His paintings, in variety of subjects and treatment, in pres- 
entation of the work of artists of front rank, and especially in 
authenticity and individuality, make an assemblage unap- 
proached, it is believed, by that of any other American art 
school, and one which will prove a substantial aid in nursing 
and developing artistic thought and genius. 

The examples in this exhibition, which are as numerous as 
can be shown at one time in the gallery, do not include all the 
paintings, there remaining others serviceable as models and 
decorations for our classrooms and studios. 

Of almost equal importance are his engravings, etchings and 
prints—a collection of some ten thousand, acquired by great 
patience and careful discrimination, illustrative of many pe- 
riods, styles and masters, and which so far there has been no 
opportunity to classify and catalogue. It is hoped, however, 


that it will be possible soon to arrange these that they may be 


accessible to students, and later, perhaps, exhibited to the gen- 
eral public. 

An added benefaction is his gift of some fifteen hundred 
volumes devoted to the history of art, to the lives, training, 
methods and achievements of great artists, and to the func- 


tions and canons of art criticism, a valuable addition, as a ref- 


erence and working library, to the collection which has already 
been begun by the Institute. 


[112] 


ceil lc ene ace a A a i ah ir a al i cal a all a ek 


q 
* 
4 
.: 
# 


The noble collection of Barye bronzes is thought to be un- 
surpassed in number, completeness, variety and delicacy of the 
individual pieces, whilst the oriental porcelains comprise many 
rare and beautiful examples. 


JOHN M. CARTER, WILLIAM B. SANDS, 
ERNST SCHMEISSER, GEORGE A. BOYDEN, 
JAMES YOUNG, HENRY ADAMS, 
LEMUEL T. APPOLD, FRANK A. FURST, 
THOMPSON P. PERINE, MARTIN MEYERDIRCK, 
SAMUEL W. REGESTER, GEORGE C. MORRISON, 
GEORGE R. SKILLMAN, B. HOWELL GRISWOLD, Jr., 
SAMUEL R. WAITE, THEODORE F. KRUG, 
FERDINAND C. LATROBE,* ANTON H. FETTING, 
FRANK N. HOEN, SPENCER E. SISCO, 
FREDERICK W. WOOD, OLIVER C. CROMWELL, 
JACOB S. DETRICK, AUGUSTINE J. RYAN, 


HENRY A. BREHM. 


* Deceased. 


[113] 


PALE? hao: 


Throughout the long residence of Mr. Lucasin Paris he made 
it a practice to collect and cherish the palettes of those artist 
friends who were near and dear to him. While the character 
of this material is such that it can not be permanently dis- 
played, yet the palettes possess a unique interest and are there- 
fore listed for such reference as may seem proper. 

All of the palettes were carefully labeled on the back by Mr. 
Lucas, who marked in red paint the artist’s name, and in addi- 
tion certain dates and personal notes. On some he had pasted 
clippings concerning the artist’s honors and accomplishments. 
The artists, on the other hand, had frequently inscribed their 


gifts in very personal fashion, and many times had painted ~ 


upon the palettes most characteristic sketches. 


328 
ALMA-TADEMA (Lorenze). (1885) 


On the Front the Inscription: 
“A Monsieur Lucas, L. Alma-Tadema, 31/7 185, * 


329 
ARTIGUE (A). (1892) 


On the Front a Spray of Flowers and the Inscription: 
“Offert 4 Mr. Lucas par A. Artigue, ’92.” 


330 
BODMER (K). (1888) 


On the Front the Inscription: 
“Offert 4 Monsieur Lucas, Paris, 25 Avril, 1888, K. Bodmer.” 
On the Back the word “Bodmer” and the Pen Signature, “K. Bodmer.” 


[116] 


<= = 


331 
BONNAT (L). (1881) 


On the Back the Inscription : 
“Offert 4 Monsieur Lucas, L. Bonnat, Paris, 8th (August), 1881. 


332 
BONNAT (L). (1888) 


On the Front the Signature: 
“L. Bonnat.” 
On the Back the Inscription: 
“Palete avec laquelle le portrait du Cardinal Lavigerie a été fait, 
L. Bonnat, 1888.” 


333 
BONVIN (F). 


On the Back the Pen Signature, “F. Bonvin.” 


334 
BOUDIN (E). (1897) 


On the Front the Brush Signature, “EH. Boudin, 1897.” 


335 
BOUGHTON (G. H.). (1885) 


On the Front a Suggestive Sketch of a Peasant Girl, 
with Farming Tools Over Her Shoulder ; 
Also the Inscription: 
“To My Old and Good Friend, Geo. A. Lucas, 
G. H. Boughton, London, 1885.” 
Also on the Front: 
“This Palette Belonged Originally to A. L. Egg, R. A.” 


336 
BOUGUEREAU (William). (1884) 


On the Back in Autograph Signature: 
“A Monsieur Lucas, Wm. Bouguereau, Paris, 1884.” 


337 
BRETON (Jules). (1882) 


On the Back the Inscription: 
“A mon ami Monsieur Lucas, Jules Breton, 8th (August), 1882.” 


[117] 


trier 


338 
BUHOT (F.). 


On the Hecke the Tdaeipgese oe, 
“A Monsieur Lucas, Souvenir Affecteaux, Felix Bato! ae 


ae 
aaa se 
wa 
oy Sg 
a a - 


339 
CABANEL (A.). 


On the Back the Inscription, 4% Mr. Lucas,” = 


340 
CHAPLIN (Ch.). 


On the Front the Brush Signature, “Ch, Chaplin.” 


341 
CLAIRIN (G.). 


On the Front the Brush Signature, “G. Clairin.” ae 


342 
COROT Cloak Baptiste Camille). 


On the Front a Seal in Red Wax, “Vente Corok pe “= 

On the Back, a newspaper clipping, which states, among othe 
that this palette, together with that of Delacroix, was an int 
feature of one of the Autumn Salons. It also states that fend 


leux, who had preserved it reverently, together with Corot’s 
one of his picturesque striped red and white Normand 
which he frequently went sketching. 
343 
COROT (Jean-Baptiste Camille). 


On the Front the Signature in Capitals, “C. Corot. 


344 
DAGNAN-BOUVERET. (1897) : 


~ 


On the Front the Inscriptions 
“A Monsieur Lucas, par Dagnan—B., 1897.” oF 


345 
DAUBIGNY (Charles). . 


(Signed) A. Steinheil, extleteyaineee Hs 
[118] ~~ 


: 3406 
DELACROIX (Eugene). 


On the Back a Seal in Red Wax, “RE. D.,” in Script, within a Circle. 


347 


DELPY (H. C.). 
On the Front an Evening Landscape, Signed “H. C. Delpy.” 


348 
DEMONT (A.). (1888) 


On the Back the Inscription: 
“A Monsieur Lucas, son tout dévoué, A. Demont, Paris, 
28th Janvier, 1888.” 


349 
DEMENT-BRETON (Mme. Virginie). (1896) 


On the Back the Inscription: 
“A Monsieur Lucas, Souvenir Affecteaux, Virginie Demont-Breton, 
Montgeron, le 10 Juin, 1896.’ 


350 
De NEUVILLE (A.). (1884) 


On the Front the Brush Signature, “A. de Neuville, 1884.” 


351 
DETAILLE (Edouard). (1896) 


On the Front the Suggestive Sketch of a Lancer, and the Inscription: 
“A Geo. Lucas, Edouar (the final d is omitted) Detaille, 1896.” 
On the Back Mr. Lucas pasted a note from the Artist, of which the fol- 
lowing is a free translation: 
“SATURDAY MORNING. 
“Dear Friend: 

“Can you come this Saturday afternoon? The last time you came I 
completely forgot to show you the Lucas palette. It is ready, though 
not dry. “Yours in most friendly spirit, 

“EDWARD DETAILLE.” 


352 
DUVERGER. (1887) 


On the Front the Brush Signature, “Duverger.” 
On the Back the Inscription: ‘‘A mon ami Lucas cette palette qui m’ a 
servu trente ans, Higuen (spelling uncertain) le 4 D’bre, 1887. J. E. 
Duverger.” 


[119] 


353 


lea dake (1893) | 


On the Front in Red Paint, “Heusquiza, 18 

On the Back, a Cup with a Dove (in red and black), and the 
“Blut ind Leib der heil’gen Grabe, etc.” (Ete J 

. Monogram, “FE. R.,” 1898, 4 Mr. Lucas.” 


354 

ERNST (R.). (1892) 
On the Front the Brush Signature, “R. Ernst, ’92.” 
355 
ESCOSURA (Leony). as 
On the Front a Portrait Sketch, presumably of the apes A 


On the Back the Inscription, “Offert & mon ami Mr. Lucas, 
Leony Escosura.” ¥ 


356 

FANTIN-LATOUR. (1887) vee 
On the Front the Brush Signature, “Fantiu.” 

On the Back the Inscription, “Offert 4 Monsieur Lucas, Jany 


ad 


357 
FRERE (Ed.). 


On the Back the Brush Signature, “Ed. Frére.” a? 


358 
FRERE (Th.). 


On the Back the Pen Name, amp, Frere.” 


359 
GEROME (J. L.). 


360 
GOENEUTTE (Norbert). (1887) 


On the Front the Brush Signature, “Norbert Goeneutte, 
On the back Mr. Lucas has pasted a photograph of the artis 
is also an inscription, “Offert 4 Monsieur Lucas, Norber 
utte, Paris, Nov. 1887.” . a 


[120] 


361 
GOUBIE (R.). (1882) 


On the Back the Inscription, “Offert 4 Monsieur Lucas, R. Goubie, 1882. 


362 
GRISON. 


On the Front the Brush Signature, ‘Grison.” 
On the Back the Pen Signature, ‘“Grison.” 


363 
GUERARD (H.). 


On the Front the Sketch of a Lantern. 
Qn the Back the Inscription, “Offert 4 Mr. Lucas, H. Guerard.” 


364 
HENNER (H.). 


On the Front the Printed Name in Blue Paint, “H. Henner.” 

On the Back a letter to Mr. Lucas from .Mr. Allard, of Allard & Noel, 
art dealers, saying he was sending a palette of Henner’s, which 
had been designated for Mr. Lucas’ collection. 


365 
JACOMIN (M.). (1887) 


On the Front the Brush Inscription, “A Mr. G. A. Lucas, M. 
Jacomin, Palette de 1880 4 1887.” 


266 
JEANNIN (G.). 


On the Back the Brush Signature, “G. Jeannin.” 


367 
JOUVE (A.). 


On the Front a slight suggestion of a bouquet of flowers and the 
inscription, “A. Jouve, Monsieur Lucas, hommage de... . tein.” 
(Spelling uncertain.) 


[121] 


368 
KNAUS (L.). 


On the Front a Charming Sketch of a young Fawn and a Kid at Play; 
also the Inscription, “4 Mr. G. A. Lucas, L. Knaus.” 
On the Back Mr. Lucas has Pasted this Note: 

Knaus, (L.). Berlin. 

Pupil of the Dusseldorf Academy. 

Medals 1858-55 (EH. U.) 1857-59. 

Legion of Honor, 1859. 

Grand Medal of Honor (EH. U.) 1867. 

Officer of the Legion of Honor, 1867. 

Professor in the Academy, Berlin. 


369 
KNAUS (Ludwig). 


On the Front, Sketch of a Lion’s Head and the Inscription: 
“Offert a Mr. G. A. Lucas par L. Knaus.” 
Mr. Lucas has Pasted on the Back the Following Clipping: 
Knaus (Ludwig). (Berlin.) 
Pupil of the Dusseldorf Academy. 

Medals, 1858, °55, ’57, ’59. 
Legion of Honor, 1859. 

Grand Medal of Honor, 1867. 

Officer of the Legion of Honor, 1867. 

Member of the Academies of Berlin, Vienne. 
Munich, Amsterdam, Antwerp and Christiana. 
Knight of the Prussian Order of Merit. 

Medals at Berlin, Vienna and Munich. 

Weimar Gold Medal for Art. 

Professor in the Berlin Academy. 

Grand Medal of Honor, Antwerp, 1880. 
Honorary Member of the Royal Academy, London. 


379 
LAMBERT (Eug.). 


On the Front a Suggestive Sketch of a Cat’s Head and the 


Inscription, ‘‘Eug. Lambert, 4 son ami Lucas.” 


371 
LAMBERT (L. Eug.). 


On the Front the Brush Signature, “L. Hug. Lambert.” 


On the Back the Pen Inscription, “Offert 4 Monsieur Lucas, 
L. Eug. Lambert.” 


372 
LAVIEILLE (Eugene). (1888) 


On the Front the Inscription, “A mon cher et tres bon ami 
Odgen Wood, Hugene Lavieille, 15 Janv. 1888. 


[122] 


Le FEBVRE (Jules). (1882) 


On the Front the Brush Signature, “Jules Le Febvre, 1882.” 
On the Back the Inscripton, “A Monsieur Lucas. Souvenir du 
Tableaux de la Fiancée, J. Le Febvre.” 


374 
Le ROUX (Hector). (1885) 


On the Front the Brush Signature, ‘Hector-LeRoux.” 
On the Back the Inscription, “Offert 4 Monsieur Lucas par son 


devoué, Hector LeRoux, 1885.” 


375 
MADRAZO. 


On the Back the Inscription, “Offert 4 Mr. Lucas, Madrazo, 84.” 
376 
MARIS (Jacob). 
On the Front the Brush Signature, “J, Maris.” 
377 
MAZEROLLE (J.). 


On the Back the Inscription, ‘A Monsieur Lucas, Souvenir 
bien cordial de J. Mazerolle, 1882.” 


378 
MONTICELLI (Adolphe). 


Mr. Lucas has Pasted on the Back of the Palette a Reproduction of 
the Drawing by M. Mongé, Giving a Portrait of the Artist. 


379 
PLASSAN. (1882) 


On the Front the Sketch of a Young Woman, and the Brush 
Signature, ‘“Plassan.”’ 
On the Back the inscription, of which the following is a free transla- 
tion: “This palette has been in my possession about twenty-three 
years, and has been used in the painting of a number of pictures. 
I have given it to my good friend George Lucas, the accomplished 
connoisseur of objects of art. P. 1882.” 


380 
PRIOU (Louis). 


(1874) 
On the Back the Inscription, “Offert 4 Mr. Lucas, Priou, 1874.” 


[123] 


381 
RIVOIRE. 


On the Front a Sketch of Poppi re 
On the Back the Brush pana. Ed: 


382 
FLEURY (Robert-Henry). 


On the Front the Inscription, ‘Palette de Robert Flew y 
donné par J. C. Chaplain, Membre de Sreoie aon 


383 


384 
SANDREZ-PERRIER (E.). (1891) 


On the Front the Inscription, “E. Sandrez-Perri 
Juillet, 1891, Offert 4 Mr. Lucas.” 


Ne haga 


i’ Rie 


385 
SCHREYER (Ad.). 


On the Back the Ppl ee “Souvenir d’ amitié a Mr. L 
de Ad. Schreyer.” ae yrs 


386 
SEIGNAC (P.). 


387 
SEIGNAC (——). 


On the Front the Brush Signature, “Seignac.” 
On the Back the Inscription, “A mon ami Lu s 


388 
SIMONS (Marcius). 


Aiatatan spate aa pte Be 


[124] 


389 
THAULOW (Fritz). 


On the Front a Suggestive Sketch of a Mill and Mill-Stream, with the 
Brush Signature, ‘Fritz Thaulow.” 
On the Back Mr. Lucas has Pasted this Note, “Thaulow (Fritz) 
Paris. Legion of Honor, 1889.” 


390 
THIOLLET (A.). (1883) 


On the Back the Inscription, “A Monsieur Lucas, Thiollet, 1883.” 


391 
TROYON (Constant). 


On the Back the Inscription, “Offert 4 mon ami Mr. Lucas, 
Palette de Troyon. Eug. von Marcke.” 
Mr. Lusas has Pasted on the Back the Following: ‘“Troyon (Constant) 
dec’d. Paris. Pupil of Rivereux. Medals, 1838-40-46-48-55. Le- 
gion of Honor, 1849. Born, 1810. Died, 1865.” 


392 
VEYRASSAT (J.). 


On the Front the Brush Signature, ‘J. Veyrassat.” 


393 
VIGNON (V.). 


On the Front a Sketch of a Tankard and Leeks, together with the 
Brush Signature, “V. Vignon.” 


394 
VON THOREN. 


On the Front the Signature, “Von Thoren.” 
On the Back the Pen Signature, “De Thoren.” 


395 
VAN MARCKE (E.). (1882) 


On the Back the Inscription, ‘Hug. von Marcke, A son ami Mr. Lucas, 
Paris, 1882.” 
Mr. Lucas pasted on the back the following clipping: “Van Marcke, 
(E.) Paris. Pupil of Troyon, Medals, 1867-69-70. Legion of Honor, 
1872. First-Class Medal, (E. U.) 1878.” 


[125] 


WEISZ (Adolphe). (1884) 


On the Front a Sketch of a Girl in National Goma 

an Alsatian Bonnet. Sketch Signed “A. W 

On the Back the inscription in French, “This palette 
Monsieur Lucas by his very affectionate es 

Paris, June Ist, 1884.” HF 


397 
WOOD (Ogden). : 


On the Front the Inscription, “To my dear friend, G. x Ln 
Ogden Wood.” is 
398 
ZIEM. (1878) 


On the Back the Inscription, “Palette, Venitienne. Offert a 
Lucas, Ziem, Paris 16, 9th (September) 1878.” — 


| 399 
DOMINGO (J.). (1893) 


On the Front the Inscription, “A Monsieur Lucas, de tae par 
S. P. Avery, I Domingo, 1893, Paris.” — 

Also Portrait Heads and Sketches—such as a Reception, 
a Masquerade, a Conversation, etc. 


}126] ante 


LIST OF PAINTERS REPRESENTED IN THE 
LUCAS COLLECTION. 


Anastasi (A.), 163, 171 

- Andrieux (A.), 162 

Appian (A.), 106, 150 
Armand-Dumaresq (C. H.), 117 
Aubert (E. J.), 89 


Babcock (W. P.), 22 

Baird (W. B.), 18 

Barye (A. L.), 594, 595, 597, 598, 
599, 600, 601, 602, 603, 604, 605, 
606, 607, 608, 609, 610, 611, 612, 
618, 614, 615 

Baudit (A.), 250 

Béraud (J.), 140 

Berre, 207 

Besnart (A. P.), 186, 193 

Bonington (R. P.), 220 

Bonnat (L.), 105 

Bonvin (F. S.), 11, 215 

Boudin (H.), 269 

Boughton (G. H.), 75, 116 - 

Bouguereau (W. A.), 40, 97 

Boulanger (G.), 120 

Boulard, 158, 178 

Bracquemond (J. F.), 70. 

Brendel (A.), 127 

Breton (J.), 82, 102, 110 

Butin (U. A.), 268 


Cabanel (A.), 33 
Castres (E.), 19 
Carand (J.), 154 
Cazin (J. C.), 244 


Charnay (A.), 139 

Clairin (J. G.), 39 

Collin (R.), 10, 21 

Comte (P. C.), 136 

Constable (J.), 259 

Constant (J. J. Benjamin), 73 

Coomans (J.), 195 

Corot (J.-B. C.), 282, 233, 234, 235, 
236 

Couder (A.), 121 

Coutourier (P. L.), 175 

Couture (T.), 126, 166 


Dannat (W. T.), 76 
Daubigny (C. F.), 100 
Daumier (H). 65, 79, 148, 187 
Decamps (A. G.), 44, 141 
Dehodencq (A.), 66 _ 
Delacroix (E.), 183 

Delpy (C.), 24 

Delort (C.), 68, 96 

Desgoffe (B.), 137, 200 

Diaz (N.), 118, 184, 224, 239 
Domingo y Marques (D. F.), 219 
Dupré (J.), 262 

Dupré (V.), 84, 161, 167 
Duran (C.), 52, 57 | 

Duverger (T. E.), 168 


Ernst (R.), 194 


Fantin-Latour, 54, 99 
Faubellet (J.), 247 
Fielding (N.), 122 


[127] 


Fichel (E.), 254 
Flameng (L.), 129, 182 
Flers (C.), 38, 271 
Frére (E.), 155 

Frére (T.), 104 


Gautier (A.), 226 
Gavarni, 72, 112, 119 
Gérdme (J. L.), 252 
Giacomelli (F.), 5 
Gide (T.), 251 

Gleyre (C.), 264 
Goenuette (N.), 181, 256 
Goubie (J. R.), 147 
Greuze (J. B.), 48, 149 
Grison (A.), 205 
Geurard (H.), 95 

Gues (A.),-152 

Guignet (A.), 35, 272 
Guilleman (A. M.),°132 


Hamon (J. L.), 18 
Henner (J. J.), 214 
Héreau (J.), 62, 67, 217 
Hervier (A.), 128, 130 
Hovenden (T.), 30, 204 
Howland (F.), 25 
Hunt (W.:M.),; 225 


Jacque (C. E.), 1, 107, 181, 248 
Jacquemart (J. F.), 180 © 
Jacquet (G.), 185 

Jacomin (M. F.), 94, 125, 241: 
Jeanron (P. A.)., 55 

Jeannin (G.), 8 

Jongkind (J. B.), 206, 208 
Jourdan (A.), 270 


Kreyder (A.), 6, 34 


Lalanne (M.), 213 
Lambert (E.), 80 
Lambinet (H.), 265, 273 
Lavieille (H. A. 8.), 88 

Le Febvre (J.), 56, 144, 145 


Leleux (A.), 216 
Leloir (L.), 184 


Lemmens (F.), 59, 64, 69, 74, 124, 
138, 159, 170, 192 


Lepere (L. A.), 2381 
Le Prince (X.), 146, 221 | 


Le Poittevin (E.), 108 


Le Roux (H.), 49, 50 

Lesrel (A.), 2 

Leyendecker (P. J.), 243 
Lhuillier (C.), 202 
Lobrichon (T.),.77 

Loire (L.), 60 

Longuet, 58, 198 
Loustaunau (L. A. G.), 185. 
Loutherbourg (J.), 227 


Mailland, 246 

Manet (EH.), 164 

Marilhat (P.), 98 

Maris (J.), 101 

Mazon (F. H.), 263 — 

Mery (A. B.), 81, 109 

Meissonier (J. L. E.), 260 — 

Mettling (L.), 78 

Michallon, 212 

Michel (G.), 15, 179 

Millet (J. F.), 156, 172, 210 

Monginot (C.), 7> 

Monticelli (A.), 23, 29, 40, 42, 43, ES. 
114, 242 

Munier (E.), 16 

Muraton (A.), 151 ; °'- 


Palizzi (G.), 199 ~~: 

Pascuti (A.), 267 

Pasini (A.), 197. 

Patrois (I.), 85 eee en 
Patrouillard (J.), 218--+.-«" 
Pizzarro (C.), 28, 93-- 


Plassan (A. E.), 45, re 113, 160, 
201, 255 


Priou (L.), 189 


Quost (H.), 17 


[128] 


Rico (M.), 61 

Roqueplan (J. E. C.), 87 
Rousseau (L.), 240 
Rousseau (P.), 27, 176 
Rousseau (T.), 229, 230, 287 
Rozier (J.), 37 

Rudeaux (H.), 196 


Saintpierre (G. C.), 26 
Sanchet-Perier (E.), 71 
Santoro (R.), 63 
Schenck (A. F.), 133, 177 
Schreyer (A.), 222, 223 
Simons (M.), 188 

Soyer (P.), 142 

Steinheil (A. C.), 3, 47 
Stevens (A.), 14 


Tassaert (N. F. O.), 32 
Teniers (A.), 115 


Thiollet (A.), 12, 31, 128, 211, 234, 


257, 266 


Thoren (O. de), 238 
Troyon (C.), 165 


Unknown Artists, 103, 169, 261 


Van Marcke (E.), 83, 111 
Vely (A.), 36 

Veron (A. R.), 228 
Veyrassat (J. J.), 92, 245 
Vignon (V.), 190, 208, 253 
Villa (HE. D.), 86 

Villain (H.), 91, 209 
Vinecelet (V.), 4, 153 
Vollon (A.), 9, 174 


Wells (G.), 90 
Weisz (A.), 191 
Willems (F.), 249 


Ziem (F.), 20, 51, 1438, 157, 173 


[129] 


WE 


3 3125 00007 2385 


